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Turkey is home to a rich diversity of highly localized musical traditions-comprised of regional repertoires, instruments, performance practices, and dances-bound together by a strong sense of national identity. On first listen, Anatolian music can seem overwhelming in its variety and the same piece of music can have multiple, overlapping, and even contradictory meanings depending on the region in which it's found. In Music in Turkey, Eliot Bates uses three themes to demystify these musical experiences: the interrelation of these various Turkish musical styles; the complexity of their sociocultural and musical meanings; and, the influence of technology and modernization on current Anatolian music. The text illustrates the intersection of these themes in two ways. First, it discusses the movements to modernize Turkish music with pan-Anatolian orchestras and standard repertoires. Secondly, the text focuses on the flexibility of regional styles and how they're filtered through new performance contexts and generate new meanings to present-day listeners. Bates shows how Turkish music reflects a vibrant nationalism borne from a history deeply rooted in distinct local cultures.
Designed to be used as one of several short and inexpensive case study volumes in the Global Music Series, this volume is appropriate for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Middle Eastern music and/or culture. Based on the author's own extensive fieldwork, the text features interviews with performers, eyewitness accounts of performances, and vivid illustrations. The book also features listening activities that enable students to engage critically and actively with the text. The included 70-minute CD contains examples of music discussed in the text, and supplementary material for instructors will be available on the companion web site (www.oup.com/us/globalmusic).
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