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Music in contemporary Turkey is inextricably linked to the history of the Republic of Turkey and the complex histories of the Ottoman Empire and numerous other empires that preceded it. It is also an ideal avenue for introducing one of the most vibrant multicultural areas in the Middle East. Turkey is home to a rich variety of highly localized musical traditions--comprised of regional repertoires, instruments, performance practices, and dances--bound together by a strong sense of national identity. The first brief, stand-alone volume to explore the musical and cultural traditions of this region, Music in Turkey places the diverse sounds of the country (and the Middle East at large) in their social contexts.
Author Eliot Bates employs four themes in his survey of Turkish music:
* The role of music in forming a national consciousness about local and regional cultures
* How changes in musical meaning pertain to changes in contemporary Turkish society
* The process of arrangement, where technology is creatively used to revitalize and modernize traditional music
* How today's Anatolian musical instrument performance and construction are linked to local, regional, and national identities
The author draws on his extensive regional fieldwork, offering accounts of local performances, interviews with key performers, and vivid illustrations.
Music in Turkey is ideal for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Middle Eastern music and/or culture. Packaged with a 70-minute CD containing musical examples, the text features numerous listening activities that actively engage students with the music. The companion website includes supplementary materials for instructors.
Table of Contents
Foreword Preface CD Track List
Chapter 1: Anatolian rural musics and instruments
1.1: Rural song forms: türkü and uzun hava
1.2: A??k poetry and poets
1.3: Alevi sacred/secular music
1.4: Saz-family instruments
1.5: Saz making
1.6: Kemençe and Karadeniz folk song
1.7: Dance music and drumming: Oyun havas? and the ask?-davul
1.8: Conclusion: rural music in urban Turkey
Chapter 2: Urban musics and instruments
2.1: History of urban art music until 1950
2.3: Contexts 1: music institutes and concert halls
2.4: Farah and fasal: song and suite forms
2.6: Instrumental art music composition
2.7: Roman oyun havas?
2.9: Contexts 2: restaurant and meyhane music
2.9: Klasik kemençe (lyra politiki)
Chapter 3: Musical features: rhythm, melody and form
3.1: Usul, beat structures and meter
3.2: Asymmetrical beat structures and the feel of aksak
3.3: Rhythms made within aksak beat structures
3.4: Comparison of rhythmic layers in kar??lama and zeybek dance forms
3.5: Musical form: soru-cevap
3.6: Melodic structure: seyir and durak
Chapter 4: Arranged folk and art musics and new musical instruments
4.1: Arrangements in art music ensembles
4.2: Making Karadeniz music: "Bu Dünya Bir Pencere"
4.3: Alevi arrangements: Dertli Divani, "Zaman? Gelir"
4.5: Kurdish arrangements and Aynur's "Keçe Kurdan"
4.6: Profile: Erkan Osur
Chapter 5: Music, politics and meaning
5.1: In memory of a general: A??k Veysel's "Atatürk'e A??t"
5.2: Alevis against corruption: Cemali's industrial cover of "Yuh Yuh"
5.3: Folk heroes and socialist politics in the songs of Grup Yorum
5.4: Azeri and Armenian identity and the story of "Sar? Gelin/Sari Gyalin"
Glossary References Resources Index