A Short History Of Polyphonic Music In Turkey
Evin Ilyasoglu
Bogazici University
Contents
A Short History Of Polyphonic Music In Turkey
The Spreading Of Polyphonic Music After The Declaration Of The
Republic
Further Reading
A short history of polyphonic music in Turkey
Contemporary Turkish music is rooted in traditional Turkish music,
which, in turn, takes form after the Shamanistic traditions of
Central Asia as well as those of the lands Turks travelled through
on their way to Anatolia. Pre- and post-Islam, Arabic, Iranian
and the traditions of the Ottomans all have had their say. This
musical tradition is made of a peculiar structure of modes and
rhythms. It is monophonic and it deals with the intervals less
than whole tones and half tones. Traditional Turkish music is
a unification of Art Music and Folk Music. Art Music was performed
in the Court and at the religious centers. Its lyrics are drived
from Divan (Court) literature. Folk Music used the lyrics of folk
literature and that was the music of the common folk as enjoyed
by the people. The differences between the two are minimal.
Polyphonic music, which developed in the West over many centuries,
is alien to traditional Turkish music. Polyphony finally entered
Turkey with light music such as operettas, tangos and kantos in
the Nineteenth Century; for it to become acceptable in the more
serious circles with polyphonic Turkish music works took until
the first quarter of the Twentieth.
Visiting European companies introduced polyphonic music to the
Ottoman Court with musical plays, orchestra concerts, opera- ballet
and choir performances. Francois I of France sent an orchestra
to Suleiman the Magnificent after the treaty between France and
the Ottoman Empire was signed in 1543; this orchestra gave three
performances in the Court. Selim III invited a Western opera troupe
in 1797 whose performances were met with great delight around
the Court. The first steps in polyphonic music training were taken
by Mahmud II: He abolished the Janissaries in 1826 and founded
the Asakir-i Mansurei Muhammediye (the Reformed Soldiers of Mahmud).
This new army needed something more than the habitual tunes of
the Mehteran, and the winds band of Muzika-i Humayun were formed.
This music group also functioned as court musicians. Giuseppe
Donizetti (1788-1856), brother of the famous Italian opera composer,
became its director. Donizetti Pasha (General Donizetti) added
the string instruments to this band in 1846, thus forming the
core of an orchestra from what was essentially a military court
band. He trained the musicians on the Hamparsum notes and composed
new tunes to ever increase the band’s repertoire. He ordered new
instruments form Italy and invited the teachers along with them.
The band did not limit its performances to the Court but went
out into the streets also. Thus did Donizetti’s band introduce
polyphonic music to the public.
Along with the Tanzimat (Reformation) came the French Theatre
(opened 1839) where musical plays and operas were performed. Western
artists added to the polyphonic music world. From the 1840s onwards,
Italian opera companies started visiting the NaumTheatre. This
theatre contributed in a major way to the acceptance of the Italian
operatic tradition for twenty-eight years.. Abdulmecid had a small
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