Music of Turkey
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{{Music of Turkey (sidebar)}}
The '''music of Turkey''' includes diverse elements ranging from [[Music of Central Asia|Central Asian folk music]] and music from [[Ottoman Empire]] dominions such as [[Persian music]], [[Balkan music]] and ancient [[Byzantine music]], as well as more modern European and American [[popular music]] influences. In turn, it has influenced these cultures through the [[Ottoman Empire]].<ref name="lesartsturcs">{{cite web|url=http://www.lesartsturcs.com/|title=History of music in Turkey|work=Les Arts Turcs |accessmonthday=May 1 |accessyear=1999}}</ref> [[Turkey]] is a country on the eastern shore of the Mediterranean Sea, and is a crossroad of cultures from across [[Europe]], [[North Africa]], the [[Middle East]], the [[Caucasus]] and [[South Asia|South]] and [[Central Asia]].
The roots of traditional music in Turkey spans across centuries to a time when the [[Seljuk Turks]] colonized [[Anatolia]] and [[Persia]] in the 11th century and contains elements of both Turkic and pre-Turkic influences. Much of its modern popular music can trace its roots to the emergence in the early 1930s drive for Westernization.<ref name="soundsofanatolia">{{cite book|author=Stokes, Martin|title=Sounds of Anatolia|publisher=Penguin Books|year=2000|id=ISBN 1-85828-636-0}}, pp 396-410.</ref>
With the absorbance of immigrants from various regions the diversity of musical genres and musical instrumentation also expanded. Turkey has also seen documented folk music and recorded popular music produced in the ethnic styles of [[Music of Armenia|Armenian]], [[Music of Greece|Greek]], [[Music of Poland|Polish]], [[Azeri]] and [[Jewish]] communities, among others.<ref name="lesartsturcs"/> Many Turkish cities and towns have vibrant local music scenes which, in turn, support a number of regional musical styles.
== Historical background ==
[[Image:Mehterhane.jpg|left|200px|thumb|[[Ottoman military band]]]]
{{Turkishculture}}
Traditional music in Turkey falls into two main genres; classical art music and folk music. [[Turkish classical music]] is characterized by an [[Ottoman music|Ottoman elite]] culture and influenced lyrically by neighbouring regions and Ottoman provinces, such as [[Persian music|Persian]] and [[Byzantine music|Byzantine]] vocal traditions and [[Balkan music|South European]] cultures.<ref name="medieval">{{cite web|url=http://www.medieval.org/music/world/turkish.html|title=Traditional Music in Turkey|work=Medieval.org|accessmonthday=May 20 |accessyear=2004}} The Ottoman Empire included substantial territory which had been under Byzantine or Arabic control, and the substratum of traditional music in Turkey was conditioned by that history.</ref> Earlier forms are sometimes termed as ''saray'' music in Turkish, meaning royal court music, indicating the source of the genre comes from Ottoman royalty as patronage and composer.<ref>{{cite web|url=http://www.hyperhistory.net/apwh/bios/b1suleyman.htm|title=Suleyman the Magnificent|work=HyperHistory Biographies |accessdate=April 3|accessyear=2006}} During his rule as sultan, the Ottoman Empire reached its peak in power and prosperity. Suleyman filled his palace with music and poetry and came to write many compositions of his own.</ref> Neo-classical or postmodern versions of this traditional genre are termed as art music or ''sanat musikisi'', though often it is unofficially termed as ''alla turca''. In addition, from the ''saray'' or royal courts came the [[Ottoman military band]], ''Mehter takımı'' in Turkish, considered to be the oldest type of military marching band in the world. It was also the forefather of modern Western percussion bands and has been described as the father of Western military music.<ref name="military">{{cite web|url=http://www.militarymusic.com/200302.htm#anchor5|title=Ottoman Military Music|work=MilitaryMusic.com|accessdate=February 11|accessyear=2003}}</ref>
[[Turkish folk music]] is the music of Turkish-speaking rural communities of Anatolia, the [[Balkans]], and [[Middle East]]. While Turkish folk music contains definitive traces of the Central Asian [[Turkic peoples|Turkic]] cultures, it has also strongly influenced and been influenced by many other indigenous cultures. [[Religious music]] in Turkey is sometimes grouped with folk music due to the tradition of the wandering minstrel or [[Ashik|aşık]] (pronounced ''ashuk''), but its influences on [[Sufism]] due to the spritiual [[Mevlevi]] sect arguably grants it special status.<ref name="alevi">{{cite web|url=http://www.alevibektasi.org/xsufi_music.htm|title=Introduction to Sufi Music and Ritual in Turkey|work=Middle East Studies Association of North America|accessmonthday=December 18 |accessyear=1995}} The tradition of regional variations in the character of folk music prevails all around Anatolia and Thrace even today. The troubadour or minstrel (singer-poets) known as ''aşık'' contributed anonymously to this genre for ages.</ref>
It has been suggested the distinction between the two major genres comes during the ''[[Tanzimat|Tanzîmat]]'' period of Ottoman era, when Turkish classical music was the music played in the Ottoman palaces and folk music was played in the villages.<ref name="ottomu">{{cite web|url=http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm|title=The Ottoman Music|work=Tanrıkorur, Cinuçen (Abridged and translated by Dr. Savaş Ş. Barkçin) |accessdate=June 26|accessyear=2000}} [[Çinuçen Tanrıkorur|Tanrıkorur]] argues that the perceived differences between the traditional music genres stemmed from the cultural clash between the East and the West that emerged during the Tanzîmat Era (1839-1908).</ref><ref name="medieval"/> However, with the type of cultural cross-breeding the empire allowed, both genres relate to the multitudes of [[ethnic]] groups to be found in the make-up of the Ottoman Empire. In that sense they are the first examples of their kind in [[world music]].<ref name="ottomu"/><ref name="medieval"/> Although Turkish classical and folk music have generally enjoyed a broad popularity regardless of subcultures, regional classical music has had lapses in prominence.
When the modern Turkish state was proclaimed in 1923, the new republic aimed at creating a nation with a distinct and unified culture. This included replacing the culture of [[Istanbul]], which was perceived as the Ottoman elite, by the culture of rural Anatolia, which was considered Turkish. Hence, folk music was promoted, while classical music became less popular.<ref name="soundsofanatolia"/> Moreover, western classical music was introduced and encouraged in accordance with one of the most important policies of the new state, westernization of the society.<ref name="soundsofanatolia"/> By the 1960s, western popular music had been introduced to Turkey, with the name ''hafif-batı müziği'' (light-western music). At the same time, socialist movements were getting popular in accordance with the world. Musicians who were inspired by these movements started adapting folk music with contemporary sounds and arrangements, giving rise to [[Anatolian rock]] and [[Protest song|protest music]] or ''özgün muzik'' (authentic music). Increasing immigration in the 1970s from southeastern rural areas to big cities in the west, and particularly to Istanbul, gave rise to a new cultural synthesis, which was regarded as a degeneration of Istanbul music by some musicologists whom favoured Ottoman classical music. Paradoxically things had come full circle; a genre that had once been thought as foreign was now viewed as Turkish or ''alla turca'', as it was reminiscent of a time when Turks were at the height of their power in world events.<ref name="soundsofanatolia"/>
The new residents of metropolitan areas suffered from hard economical conditions and had difficulties in adapting to the big city from rural life. This newly constructed culture proceeded to generate its own music, derogatively termed by Istanbul musicologists as [[Arabesque music|arabesque]] or ''arabesk'', due to its high pitched wailing and exaggerated symbolisms of suffering. Arabesque was a synthesis of Turkish folk and middle-eastern music, similar to the growing left-wing subculture's own "arabesque", which was a new version of protest music fused in folk traditions. In the era influenced by the military government, arabesque and özgün genres were labeled "degenerate" and discouraged by the government, while Turkish classical music and contemporary music were promoted.<ref name="soundsofanatolia"/>
Despite this however, western-style pop music lost popularity to arabesque in the late 70s and 80s, with even its greatest proponents [[Ajda Pekkan]] and [[Sezen Aksu]] falling in status. It became popular again by the beginning of the 1990s, as a result of an opening economy and society. With the support of Aksu, the resurging popularity of pop music gave rise to several international Turkish pop stars such as [[Tarkan]] and [[Sertab Erener]]. The late 1990s also saw an emergence of underground music producing alternative [[Turkish rock music|Turkish rock]], [[electronica]], [[Turkish hip hop|hip-hop]], [[Hip hop music|rap]] and [[dance]] music in opposition to the mainstream corporate [[pop music|pop]] and [[Arabesque music|arabesque]] genres, which many believe have become too commercial.<ref name="musicscene">{{cite web|url=http://tarkandeluxe.blogspot.com/2006/02/istanbul-music-scene.html|title=Istanbul Music Scene|work=Yildirim, Ali. Tarkan DeLuxe|accessmonthday=May 16 |accessyear=2005}}</ref>
== Classical music ==
{{Main|Turkish classical music}}
{{sample box start|Turkish classical music}}
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|description=An example of Turkish art music.
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Ottoman court music has a large and varied system of modes or scales known as [[makam]]s, and other rules of composition. A number of notation systems were used for transcribing classical music, the most dominant being the [[Hamparsum Limonciyan|Hamparsum]] notation in use until the gradual introduction of western notation. Turkish classical music is taught in conservatories and social clubs, the most respected of which is Istanbul's ''Üsküdar Musiki Cemiyeti''.
A specific sequence of classical Turkish musical forms become a ''fasıl'', a suite an instrumental prelude (''peṣrev''), an instrumental postlude (''saz semaisi''), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations [[taksim]].<ref name="ottomu"> A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, ''şarkı''. A strictly classical fasıl remains is the same [[makam]] throughout, from the introductory taksim and usually ending in a dance tune or ''oyun havası''.<ref>{{cite web|url=http://www.ottomansouvenir.com/Music/Ottoman_and_Anatolian_Folk_Songs.htm|title=The Fasil|work=Ottoman Souvenir|accessdate=April 15|accessyear=2004}}</ref> However shorter ''şarkı'' compositions, precursors to modern day songs, are a part of this tradition, many of them extremely old, dating back to the 14th century; many are newer, with late 19th century songwriter [[Haci Arif Bey]] being especially popular.
'''Composers and Performers'''
Other famous proponents of this genre include Sufi [[Dede Efendi]], [[Dimitrie Cantemir|Prince Cantemir]], [[Hamparsum Limonciyan|Baba Hamparsum]], [[Kemani Tatyos Ekserciyan|Kemani Tatyos Efendi]], Sultan [[Selim III]] and Sultan [[Suleyman the Magnificent]]. The most popular modern Turkish classical singer is [[Münir Nurettin Selçuk]], who was the first to establish a lead singer position. Other performers include [[Bülent Ersoy]], [[Zeki Müren]], Müzeyyen Senar and Zekai Tunca.
==== Musical instruments ====
{{main|Turkish musical instruments}}
Traditional instruments in Turkish classical music today include [[tanbur]] long-necked plucked lute, [[ney]] end-blown flute, [[kemenche|kemençe]] bowed fiddle, [[oud]] plucked short-necked unfretted lute, [kanun] plucked zither, violin, and in Mevlevi music, [[kudüm]] drum.
=== Ottoman harem music: belly dancing ===
{{further|[[Belly dancing]]}}
[[Image:Preziosi painting of Turkish harem.jpg|thumb|left|200px|A [[Preziosi]] depiction of a Turkish harem]]From the makams of the royal courts to the melodies of the royal [[harem]]s, a type of dance music emerged that was different from the ''oyun havası'' of fasıl music. In the Ottoman Empire, the harem was that part of a house set apart for the women of the family. It was a place in which non-family males were not allowed. [[Eunuchs]] guarded the sultan's harems, which were quite large, including several hundred women who were wives and concubines. There, female dancers and musicians entertained the women living in the harem. [[Belly dancing|Belly dance]] was performed by women for women. This female dancer, known as a ''rakkase'', hardly ever appeared in public.<ref name="rakkas">{{cite web|url=http://www.jasminjahal.com/articles/02_02_male_belly_d.html|title=Male belly dance in Turkey|work=Jahal, Jasmin|accessdate=February 2|accessyear=2002}}</ref>
This type of harem music was taken out of the sultan's private living quarters and to the public by male street entertainers and hired dancers of the Ottoman Empire, the male ''rakkas''. These dancers performed publicly for wedding celebrations, feasts, festivals, and in the presence of the sultans.<ref name="rakkas"/>
Modern oriental dance in Turkey is derived from this tradition of the Ottoman rakkas. Some mistakenly believe that Turkish oriental dancing is known as [[Chiftetelli|Çiftetelli]] due to the fact that this style of music has been incorporated into oriental dancing by [[Greeks]] and [[Roma people|Romany people]], illustrated by the fact that the Greek belly dance is sometimes mistakenly called [[Tsifteteli]]. However, Çiftetelli is a form of folk music of local origin, whereas rakkas, as the name suggests, is possibly of a more mideastern origin.<ref name="rakkas"/> Dancers are also known for their adept use of finger cymbals as instruments, also known as [[zils]].
=== Romani influences ===
[[Image:gypsy musicians.png|thumb|200px|19th century print of Romani musicians]]
{{further|[[Romani music]]}}
[[Roma (people)|Roma]] are known throughout Turkey for their musicianship. Their urban music brought echoes of classical Turkish music to the public via the ''meyhane'' or taverna. This type of ''fasıl'' music (a style, not to be confused with the fasıl form of classical Turkish music) with food and alcoholic beverages is often associated with the [[underclass]] of Turkish society, though it also can be found in more respectable establishments in modern times.<ref name="soundsofanatolia"/>
Roma have also influenced the fasıl itself. Played in music halls, the dance music (''oyun havası'') required at the end of each fasıl has been incorporated with Ottoman ''rakkas'' or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (''ritimli taksim'') for the bellydance parallels that of the classical ''gazel'', a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the [[clarinet]], [[violin]], [[kanun]], and [[darbuka]]. Clarinetist Mustafa Kandıralı is a well known fasil musician.
=== Military music ===
{{Main|Ottoman military band}}
The Janissary bands or ''Mehter Takımı'' is considered to be the oldest type of military marching band in the world.<ref name="military"/> Individual instrumentalists were mentioned in the [[Orhun inscriptions]], which are believed to be the oldest written sources of Turkish history, dating from the 8th century. However, they were not definitively mentioned as bands until the 13th century. The rest of Europe borrowed the notion of military marching bands from Turkey from the 16th century onwards.
=== Turkish influence on Western classical music ===
{{Main|Turkish music (style)}}
Musical relations between the Turks and the rest of Europe can be traced back many centuries,<ref>{{cite web|url=http://www.musicaltimes.co.uk/archive/0203/arac.html|title=A Levantine life: Giuseppe Donizetti at the Ottoman court|work=Araci, Emre. The Musical Times|accessdate=October 3|accessyear=2002}} Famous opera composer Gaetano [[Donizetti]]'s brother, [[Giuseppe Donizetti]], was invited to become Master of Music to Sultan [[Mahmud II]] in 1827.</ref> and the first type of musical Orientalism was the [[Turkish music (style)|Turkish Style]].<ref>{{cite book|author=Bellman, Jonathan|title=The Style Hongrois in the Music of Western Europe|publisher=Northeastern University Press|year=1993|id=ISBN 1-55553-169-5}} pp.13-14; see also pp.31-2. According to Jonathan Bellman, it was "evolved from a sort of battle music played by Turkish military bands outside the walls of Vienna during the siege of that city in 1683."</ref> European [[classical music era|classical]] composers in the 18th century were fascinated by Turkish music, particularly the strong role given to the [[brass instrument|brass]] and [[percussion instrument]]s in [[Janissary]] bands.
[[Joseph Haydn]] wrote his ''Military Symphony'' to include Turkish instruments, as well as some of his operas. Turkish instruments were also included in [[Ludwig van Beethoven]]'s ''[[Symphony No. 9 (Beethoven)|Symphony Number 9]]''. [[Wolfgang Amadeus Mozart]] wrote the "Ronda alla turca" in his ''[[Piano Sonata, K. 331 (Mozart)|Sonata in A major]]'' and also used Turkish themes in his operas, such as the ''Chorus of Janissaries'' from his [[Die Entführung aus dem Serail]] (1782). This Turkish influence introduced the [[cymbal]]s, [[bass drum]], and [[bell (instrument)|bell]]s into the symphony orchestra, where they remain. [[Jazz]] musician [[Dave Brubeck]] wrote his "Blue Rondo á la Turk" as a tribute to Mozart and Turkish music.
=== Western influence on Turkish classical music ===
[[Image:Güher and Süher Pekinel.jpg|thumb|left|180px|[[Pekinel sisters]], world-renowned pianist twins]]
While the European military bands of the 18th century introduced the percussion instruments of the Ottoman janissary bands, a similar development was emerging in the opposite direction, that is the Europeanisation of the Ottoman army band, in the 19th century. It was also during this period that the famous opera composer Gaetano [[Donizetti]]'s brother, [[Giuseppe Donizetti]], was invited to become Master of Music to Sultan [[Mahmud II]] in 1827.<ref>{{cite web|url=http://www.trin.cam.ac.uk/empires/prognotes.htm|title=BETWEEN EMPIRES 'Orientalism' Before 1600|work=Araci, Emre. Trinity College Chapel, Cambridge|accessdate=July 15|accessyear=2001}}</ref>
After the [[decline of the Ottoman Empire]] and the creation of a Turkish republic, the transfer of the former Imperial Orchestra or ''Mızıka-ı Hümayun'' from Istanbul to the new capital of the state [[Ankara]], and renaming it as the Orchestra of the Presidency of the Republic, ''Riyaset-i Cumhur Orkestrası'', signalled a Westernization of Turkish music. The name would later be changed to the [[Presidential Symphony Orchestra]] or ''Cumhurbaşkanlığı Senfoni Orkestrası''.<ref name="soundsofanatolia"/>
Further inroads came with the founding of a new school for the training of Western style music instructors in 1924, renaming the Istanbul Oriental Music School as the [[Istanbul Conservatory]] in 1926, and sending talented young musicians abroad for further music education. These students include well-known Turkish composers such as [[Cemal Reşit Rey]], [[Ulvi Cemal Erkin]], [[Ahmet Adnan Saygun]], Necil Kazım Akses and Hasan Ferit Alnar, who became known as [[the Turkish Five]].<ref name="ottomu"/> The founding of the Ankara State Conservatory with the aid of the German composer and music theorist [[Paul Hindemith]] in 1936 showed that Turkey in terms of music wanted to be like the West.<ref name="soundsofanatolia"/>
However, on the order of the founder of the republic, [[Atatürk]], following his philosophy to take from the West but to remain Turkish in essence, a wide-scale classification and archiving of samples of Turkish folk music from around [[Anatolia]] was launched in 1924 and continued until 1953 to collect around 10,000 folk songs. Hungarian composer [[Béla Bartók]] visited Ankara and the south-eastern Turkey in 1936 within the context of these works.<ref>{{cite book|author=Bartok, Bela & Suchoff, Benjamin|title=Turkish Folk Music from Asia Minor (The New York Bartok Archive Studies in Musicology, No. 7)|publisher=Princeton Univ Pr|year=1976|id=ISBN 0-691-09120-X }}, p 50</ref>
By 1976, Turkish classical music had undergone a renaissance and a state musical conservatory in Istanbul was founded to give classical musicians the same support as folk musicians. Modern day advocates of Western classical music in Turkey include [[Fazil say|Fazıl Say]], [[İdil Biret]], [[Suna Kan]] and the [[Pekinel sisters]].
== Folk music ==
{{Main|Turkish folk music}}
{{sample box start|Turkish folk music}}
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[[Image:Kemenche0.jpg|thumb|left|upright|[[Kemenche|Kemençe]] is a popular folk music instrument on Turkey's [[Black Sea]] coast]]
Folk music or ''Türkü'' generally deals with subjects surrounding daily life in less grandiose terms than the love and emotion usually contained in its traditional counterpart, Ottoman court music.<ref name="ottomu"/>
Most songs recount stories of real life events and [[Turkish folklore]], or have developed through song contests between troubadour poets.<ref name="minstrels">{{cite book|author=Erderner, Yildiray|title=The Song Contests of Turkish Minstrels: Improvised Poetry Sung to Traditional Music (Milman Parry Studies in Oral Tradition)|publisher=Garland Science|year=1995|id=ISBN 0-8153-1239-3}}, p 36</ref> Corresponding to their origins, folk songs are usually played at weddings, funerals and special festivals.
Regional folk music generally accompanies folk dances, which vary significantly across regions. For example, at marriage ceremonies in the Aegean guests will dance the [[Zeybek]], while in other [[Rumelia|Rumeli]] regions the upbeat dance music [[Tsifteteli|Çiftetelli]] is usually played, and in the southeastern regions of Turkey the [[Turkish folklore dances|Halay]] is the customary form of local wedding music and dance.<ref name="soundsofanatolia"/> [[Greeks]] from [[Thrace]] and [[Cyprus]] that have adopted çiftetelli music sometimes use it synonymously to mean [[belly dancing|oriental dance]], which indicates a misunderstanding of its roots. Çiftetelli is a folk dance, differing from a solo performance dance of a hired entertainer.
The regional mood also affects the subject of the folk songs, e.g. folk songs from the [[Black Sea]] are lively in general and express the customs of the region. Songs about betrayal have an air of defiance about them instead of sadness, whereas the further south travelled in Turkey the more the melodies resemble a [[lament]].<ref name="folkmusic">{{cite web|url=http://www.turkishculture.org/music/folk.html|title=Folk Music: Story of a Nation|work=Turkishculture.org|accessdate=November 10|accessyear=2003}}</ref>
As this genre is viewed as a music of the people, musicians in socialist movements began to adapt folk music with contemporary sounds and arrangements in the form of [[Protest song|protest music]].
In the 70s and 80s, modern bards following the aşık tradition such as [[Asik Veysel|Aşik Veysel]] and [[Ashik Mahsuni Sherif|Mahsuni Şerif]] moved away from spiritual invocations to socio-politically active lyrics.
Other contemporary progenitors took their lead such as [[Zülfü Livaneli]], known for his mid-80s innovation of combining poet [[Nazim Hikmet|Nazim Hikmet's]] radical poems with folk music and rural melodies, and is well-regarded by left-wing supporters in politics.<ref name="soundsofanatolia"/>
In more recent times, saz orchestras, accompanied with many other traditional instruments and a merger with arabesque melodies have kept modern folk songs popular in Turkey.<ref name="soundsofanatolia"/>
=== Folk instruments ===
[[Image:Baglama turc manche long.jpg|thumb|200px|left|[[Bağlama]]]]
Folk instruments range from string groups as [[baglama|bağlama]], bow instruments such as the [[kemenche|kemençe]] (a type of stave fiddle), and percussion and wind, including the [[zurna]], [[ney]] and [[davul]]. Regional variations place importance on different instruments, e.g. the [[darbuka]] in [[Thrace|Rumeli]] and the [[kemenche|kemençe]] around the [[Lazistan]] region.
The folklore of Turkey is extremely diverse. Nevertheless, Turkish folk music is dominantly marked by a single musical instrument called [[saz]] or [[bağlama]], a type of long-necked [[lute]]. Traditionally, saz is played solely by traveling musicians known as ''ozan'' or religious [[Alevi]] troubadours called ''aşık''.<ref name="alevi"/>
Due to the cultural crossbreeding prevalent during the Ottoman Empire, the bağlama has influenced various cultures in the Eastern Mediterranean, e.g. the Greek [[baglama]]s. In Turkish baglamak means 'to tie' as a reference to the strings of the instrument. Like most stringed instruments, it can either be played with a plectrum (i.e., pick), or with a fingerpicking style. The [[zurna]] and [[davul]] duo is also popular in rural areas, and are played at [[wedding]]s and other local celebrations.
=== Folk Literature ===
{{Further|[[Turkish Folk Literature|Turkish folk literature]]}}
A large body of folk songs are derived from minstrels or bard-poets called ''ozan'' in Turkish. They have been developing ''Turkish folk literature'' since the beginning of 11th century. The musical instrument used by these bard-poets is the [[saz]] or [[baglama]]. They are often taught by other senior mistrels, learning expert idioms and procedure and methods about the performance of the art.<ref name="minstrellit">{{cite web|url=http://www.discoverturkey.com/english/kultursanat/ozan.html|title=Minstrel Literature|work=Turkish Ministry of Culture|accessdate=March 28|accessyear=2005}}</ref> These lessons often take place at minstrel meetings and [[coffeehouse]]s frequented by them. Those bard-poets who become experts or ''alaylı'' then take apprentices for themselves and continue the tradition.<ref name="minstrellit"/>
A minstrel's creative output usually takes two major forms. One, in musical rhyming contests with other bards, where the quarrel ends with the defeat of the minstrel who cannot find an appropriate quatrain to the rhyme and two, story telling.<ref name="minstrels"/> These folk stories are extracted from real life, fokelore, dreams and legends.<ref name="minstrellit"/> One of the most well-known followings are those bards that put the title ''aşık'' in front of their names.
=== Religious music ===
'''Mosque music'''
"Mosque music," a term for music associated with mainstream religion in Turkey, includes ''ezan'' (call-to-prayer), ''Kur'an-ı Kerim'' (Koran recitation), ''Mevlit'' (Ascension Poem), and ''ilahi'' (hymns usually sung in a group, often outside a mosque). On musical grounds, mosque music in large urban areas often resembles classical Turkish music in its learned use of makam and poetry, e.g., a Mevlit sung at Sultan Ahmet mosque in Istanbul. Dervish/Sufi music is rarely associated with a mosque. [[Kâni Karaca]] was a leading performer of mosque music in recent times.<ref name="mosque">See the audio selection from Mevlit at External links below</ref>
'''[[Alevis|Alevi]] influences: The [[Ashik|Aşık]] (Ashik) traditions'''
It is suggested that about a third of the Turkish population are ''Alevis'', whose folk music is performed by a type of travelling bard or ''ozan'' called ''aşık'', who travels with the [[saz]] or [[baglama]], an iconic image of Turkish folk music.<ref name="alevi"/> These songs, which hail from the central northeastern area, are about mystical revelations, invocations to Alevi [[saint]]s and [[Muhammad]]'s son-in-law, [[Ali ibn Abi Talib|Ali]], whom they hold in high esteem. In Turkish aşık literally means 'in love'. Whoever follows this tradition has the ''Aşık'' assignation put before their names, because it is suggested that music becomes an essential facet of their being, for example as in Aşık Veysel.
Middle Anatolia is home to the [[bozlak]], a type of declamatory, partially improvised music by the bards. [[Neşet Ertaş]] has so far been the most prominent contemporary voice of Middle Anatolian music, singing songs of a large spectrum, including works of premodern [[Turkoman]] aşıks like [[Karacaoğlan]] and [[Dadaloğlu]] and the modern aşıks like his father, the late [[Muharrem Ertaş]]. Around the city of [[Sivas]], aşık music has a more spiritual bent, afeaturing ritualized song contests, although modern bards have brought it into the political arena.<ref name="minstrels"/>
'''[[Sufi]] influences: The Mevlevi traditions'''
Followers of the [[Mevlevi]] Order or ''whirling dervishes'' are a religious ''sufi'' sect unique to Turkey but well-known outside of its boundaries. They are not to be confused with other dervish sects that carry out self-mutilation in certain areas of [[Iran]] and [[Pakistan]].
[[Dervish]]es of the Mevlevi sect simply dance a ''sema'' by turning continuously to music that consists of long, complex compositions called ''ayin''. These pieces are both preceded and followed by songs using lyrics by the founder and poet [[Mevlana|Mevlana Jelaleddin Rumi]].<ref>{{cite web|url=http://www.mevlana.net/sema.htm|title=The Sema|work=Mevlana.Net Owned by Mevlana's family|accessdate=January 11|accessyear=2005}} The sema dance is very ritualistic and full of symbolism.</ref> With the musical instrument known as the [[ney]] at the forefront of this music, internationally well-known musicians include Necdet Yasar, Niyazi Sayin, [[Kudsi Erguner|Kudsi Ergüner]] and [[Ömer Faruk Tekbilek]].
=== Regional folk styles ===
Minorities and indigenous peoples have added and enhanced Turkish folk styles, while they have adopted Turkish folk traditions and instruments. Folk songs are identifable and distinguished by regions.
'''Aegean and Rumeli regions'''
The region of [[Rumelia|Rumeli]] or ''Roumelia'' is used to indicate the part of Turkey which is in Europe, namely provinces of [[Edirne]], [[Kırklareli]], [[Tekirdağ]] and the western part of Istanbul Province. Folk songs from this region share similarities with Balkan and Greek folk music, especially from the ethnic minorities and natives of [[Thrace]]. [[Northern Cyprus|Cypriot]] folk music also shares folk tunes with this region, e.g. the Çiftetelli dance. These type of folk songs also share close similarities with Ottoman court music, strengthening the suggestion by some that the distinction between court and folk music wasn't always so clear.<ref name="lesartsturcs"/><ref name="ottomu"/> However, it could arguably be that folk songs from Istanbul were closely influenced by its locality, which would include Ottoman rakkas and court music.
The Turkish islands in the [[Aegean islands|Aegean]] and cities like [[İzmir]] share similar motifs, such as the [[Zeybek]] dance.
'''Black Sea and Capsian Sea regions'''
Central Asian Turkic peoples from the [[Caspian Sea]] and areas have had a huge influence in the purest forms of Turkish folk music, most notably from the [[Azeris]] and [[Turkmen people|Turkmen]].
[[Pontic Greeks]] on the eastern shore of the [[Black Sea]] or ''Karadeniz'' regions have their own distinct style of folk music, motifs from which were used with great success by [[Elena Paparizou|Helena Paparizou]].<ref name="pontic">{{cite web|url=http://www.scimitarmusic.com/pontos/music.html|title=Pontic Music Page|work=Cline, Leigh|accessdate=February 2|accessyear=2006}}</ref> The diaspora of Greek speaking Pontic people from that region introduced Pontic music to Greece after 1924 population exchange between Turkey and Greece. The region's dance style uses unique techniques like odd shoulder tremors and knee bends. Folk dances include the gerasari, trgona, kots, [[omal]], [[serra (dance)|serra]], [[kotsari]] and [[tik]].<ref name="pontic"/>
'''Southeastern regions'''
Southeastern regions carry influences from [[Turkmen people|Turkmen music]], [[Kurdish music]], [[Zaza|Zaza motifs]] and [[Armenian music]]. These usually include epic laments.
==Kanto(Cantare Music)==
{{Main|Kanto (music)}}
[[Italy|Italian]] theater and opera has had a profound effect on [[Turkish culture]] in the past century. Like the terminology ofseamanship, the terminology of music and theater derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "[[sahano]]", backstage was referred to as "[[koyuntu]]", backdrops depicting countryside were "[[bosko]]", the appiause was "[[furi]]" and the songs sung between the acts and plays were called "kanto".
The improvised pieces were stage adaptations of the [[Karagöz]] (shadow puppet) and [[Ortaoyunu]] (traditional form of Turkish theatre performed in the open) traditions, aithough in much more simplifled form. The themes explored in these traditional theater arts as well as their stock characterizations and stereotypes were used as the framework tor the new extemporaneous performances of the tuluat (improvised) theater.
As with their Italian counterparts the Turkish troupes employed songs and music before the show and between the acts to peak people's interest and draw in customers.
Kanto: songs sung between the acts as solos or duets, based on traditional eastern makam (modes) but performed on western instruments.
Kanto: "first the introduction, then the lyrics, shake your shoulders to a violin, solo, cock your head and shimmy in oriental dance style, leap around like a partridge, then slowly disappear behind the curtain."
Kanto: the irreplaceable unifying feature of ali Turkish tuluat theater.
We can divide kanto into two periods. The division, particulariy in terms of musical structure, is very clear between the early kanto and the kanto of the Post-Republic perlod. It is further possible to identify two styles within the early period. Galata and Direklerarası (both neighbourhoods of Old Istanbul).
Kanto first took root in the musical the aters of Galata, a part of town frequented by sailors, rowdies and roustabouts. Ahmet Rasim Bey paints a vivid picture of the Galata theaters in his novel Fuhs-i Akit (An Old Whore).
"Everyone thought Peruz was the most flirtatious, most skillful and the most provocative. The seats closest to the stage were always crammed full... They said of Peruz, 'she is a trollop who has ensnared the heart of many a young man and has made herself the enemy of many. 'Her songs would hardly be finished when chairs, flowers, bouquets and beribboned letters. Come flying from the boxseats. It seemed the building would be shaken to the ground."
Direklerarası was a littie off the beaten track and İn comparison to Galata was a more refined center of entertainment. Direklerarası was said to be quite lively at night during the month of Ramadan (Ramazan in Turkish) and certainly once its attractions was its family atmosphere. It was here that the troupes of Kel Hasan and Abdi Efendi and later that of Neshid enjoyed a great popularity. It was under the influence of these masters that kanto experienced its golden years.
The troupes orchestra would be made up ofsuch instruments as the [[trumpet]], [[trombone]], [[violin]], and [[trap drum]] and [[cymbals]]. The orchestra would start to play popular songs of the day and marches in front of the theatre about and hour before the show to drum up interest. This intermission or Antrak music ended up with the well known Izmir March, a sign that the show time was approaching. The play began as the musicians went in and took their places at the side of the stage.
The kanto singers of the period were also composers. Set to extraordinarily simple melodies which were the fashion of the day, the lyrics relied heavily of tensions between men and women as well as reflecting topical events. The compositions were in such fundamental [[makam]]s as Rast, Hüzzam, Hicaz, Hüseyni and Nihavent. Kanto songs are remember both by the names of their interpreters and by their creators, artists such as Peruz, Shamran, Kamelya, Eleni. Küçük and Büyük Amelya, Mari Ferha and Virjin. That kanto brought an erotic element to the stage performance was an important aspect and one that should not be overlooked or separated out.
Art and cultural life gained new dimensions with the changes brought about by the 1923 formation of the Turkish Republic. It was a period of rapid transformation and its effect were widespread. Turkish women had finally won the freedom to appear on the stage, breaking the monopoly previously held by [[Rûm]] (Istanbul Greek) and [[Armenian people|Armenian]] women who performed in musical and non-musical theatre. Institutions like [[Darulbedayi]] (Istanbul City Theatre) and [[Darulelhan]] (Istanbul Conservatory of Music) had long been turning out trained artists.
Western lifestyles and western style art put pressure on the traditional Turkish formats and these were swept off to the side. The operetta, the tango then later the Charleston and the fox-trot overshadowed kanto. Kanto's popoularity began to fade, the citys centers of entertained shifted and the theaters of Galata and Direklerarası were closed down. Turkish female artists were unreceptive to kanto's inherent ribairy and chose to keep their distance from it.
But there came a change agah in the 1935's, there was a revival of interest in the kanto form. Aithough rather far from its fundamental principles a new type of kanto was önce again popular.
It is important to point out that kanto had now moved from the stage to the recording studio. While the subjects dealt with in the lyrics were stili the same old quarreis between men and woman, mixed in with satirical takes on fashion and current events. the songs were being written with the 78 rpm phonograph in mind. So much so that every record label hired their own kanto composers-and rather famous ones at that! With Columbia at the fore, record labels commissioned kanto from [[Kaptanzade Ali Rıza Bey]], [[Refik Fersan]], [[Dramalı Hasan]], [[Sadettin Kaynak]], [[Cümbüş Mehmet]] and [[Mildan Niyazi Bey]]. The makams were the same but the instrumentation had changed. Kanto were now accompanied by cümbüş (a fretlees banjo like instrument) the ud (a fretless) lute, and calpara (castenets). [[Foxtrot]], [[Charleston (dance)]] and [[Rumba (dance)]] rhythms dominated. The tunes were being written and sung more tor listening than tor dancing. Female soloists include [[Makbule Enver]], Mahmure, and Neriman; [[Beşiktaşlı Kemal Senman]] was the most sought after male singer tor duets.
Among the topics explored by the new kantocu (singer or composer of kanto) perhaps the most frequent subjert of satire was the new role of women brought about by the formation of the Republic. Songs like Sarhoş Kızlar (Drunken Girls) or Şoför Kadınlar (Women Drivers) were sung seemingly in revenge tor ali the suffering they had endured at the hands of men in the past. Other topical songs include Daktilo (The Typewriter) which brought to mind the newly formed Secretaires 7 Society. Songs such as Bereli Kız (The Girl with the Beret) and Kadın Asker Olursa (Women Were Soldiers) were full of mockery and ridicule.
The early period kanto were largely nurished by Istanbul culture. It was much the same in the Post-Republican period. The city's large and diverse population provided both the characters and the events that were the mainstay of kanto. Kanto was heavily influenced by musical theatre. Roman (gypsy) music and culture. which was itself of the subject of satire, left its mark on kanto form. Another major influence was [[Rum music]]. The importance of the Istanbul Rum, who were so fond of entertainment and of singing and playing, must not be underestimated. It is a natural and inevitable resuit of cultural exchange. As it was, almost all the kanto singers were either Rum or Armenian, artist like [[Pepron]], [[Karakas]], [[Haim]], [[Samran]] and [[Peruz]] who performed during the period following 1903.
Eventually kanto became more of a definition, a generalized genre than a musical term. Any tune that was outside of the days musical conventions, anything light that appealed to current trends and tastes was labeled kanto. Any music played with different instruments that was free rhythmic or somehow novel was labeled kanto, it was the product of a middie class urban culture, of urban Istanbul.
This music, kanto, from the beginning of this century has been accepted as the forerunner oftoday's pop culture and it succeeded in remaining popular tor close to halt a century.
== Popular music ==
Popular music is distinguished from the traditional genres as those styles that entered the Turkish musicality after the fall of the Ottoman Empire, either due to attempts of national modernization from 1924 onwards, the opening of the republic to Western musical influences or modern fusions and innovations from artists themselves.<ref name="soundsofanatolia"/>
=== Mainstream pop ===
{{Main|Turkish pop music}}
[[Image:Tarkan Vienna2006 2.JPG|thumb|left|200px|[[Tarkan]] in [[Vienna]] with fans from [[Hungary]]]]Turkish pop music had its humble beginnings in the late 1950s with Turkish cover versions of a wide range of imported popular styles, including [[rock and roll]], [[tango music|tango]], and [[jazz]]. As more styles emerged, they were also adopted, such as [[hip hop music|hip hop]], [[heavy metal music|heavy metal]] and [[reggae]].
The self named "superstar" of the "arrangement" (aranjman) era of the 70s was [[Ajda Pekkan]] who also debuted, along with [[Enrico Macias]], at [[Paris Olympia|Olympia]], [[Paris]], while [[MFÖ]] (Mazhar, Fuat, Özkan) was the celebrated group of the pop scene with an outstanding dexterity in their use of Turkish prosody and their success of amalgamating Western and Turkish cultural ingredients and perspectives. Also one of the most renowned Turkish pop stars of the last decades is probably [[Sezen Aksu]]. She contributed considerably to the unique Turkish pop sound of this period, allowing it gain ground from its humble beginnings in the early 50s and 60s to the popular genre it is today. She was also one of the strongest advocates for Turkey to enter the [[Eurovision Song Contest]]. Her one-time vocalist and later protegé [[Sertab Erener]] won the contest in 2003.
The biggest male pop stars in Turkey are arguably [[Tarkan]] and [[Mustafa Sandal]]. Tarkan achieved chart success in [[Europe]] and [[Latin America]] with his single "[[Şımarık]]", also composed by Sezen Aksu, which has been covered by numerous artists.<ref>Such as [[Holly Valance]] with the "[[Kiss Kiss (song)|Kiss Kiss]]" song.</ref> Mustafa Sandal has also enjoyed chart success in Europe with his 2005 single "[[İsyankar]]", which peaked at number 4 and went [[Gold disc|gold]].<ref>{{cite web|url=http://www.tulumba.com/storeItem.asp?ic=MU960595DR097|title=Official Swiss Charts|work=Swisscharts.com |accessdate=February 13|accessyear=2005}}</ref>
=== Turkish hip hop ===
{{Main|Turkish hip hop}}
[[Turkish hip hop]] or ''[[oriental]] [[hip hop]]'' is a creation of the Turkish [[migrant worker]] community in Germany, which some suggest was a suitable outlet for a young generation disillusioned with Germany's treatment of its migrant class.<ref>{{cite web|url=http://www.qantara.de/webcom/show_article.php/_c-478/_nr-340/_p-1/i.html?PHPSESSID=586932399788bbaf8|title=Migrant Workers in Germany - "The Lowest of the Low"|work=Qantara.de|accessdate=October 10|accessyear=2005}}</ref> In 1995, the Turkish-German community produced a major [[hip hop music|hip hop]] crew named [[Cartel (hip hop crew)|Cartel]] which caused controversy in Turkey and [[Germany]] for its revolutionary lyrics. Hip hop now enjoys wide popularity among the younger generation in Turkey. [[Ceza]] (formerly "Nefret") and [[Sagopa Kajmer]] are popular figures of contemporary rap music in Turkey. Another popular Turkish hip-hop group is called "Turks with Attitude" who have a popular track called "My Melody". This track samples from the American rapper Rakim's "Check Out my Melody", using a traditional form of Turkish music called arabesque to blend the two styles and cultures together.
=== Arabesque ===
{{Main|Arabesque music}}
Starting in the 1970s, immigration from predominantly southeastern rural areas to big cities and particularly to Istanbul gave rise to a new cultural synthesis. This changed the musical makeup of Istanbul. The old tavernas and music halls of fasıl music were to shut down in place of a new type of music.<ref name="soundsofanatolia"/> These new urban residents brought their own taste of music, which due to their locality was largely middle eastern. Musicologists derogatively termed this genre as arabesque due to the high pitched wailing that is synonymous with Arabic singing.
Its mainstream popularity rose so much in the 1980s that it even threatened the existence of Turkish pop, with rising stars such as [[Muslum Gurses]] and [[Ibrahim Tatlises]].<ref name="soundsofanatolia"/> The genre has underbeat forms that include Ottoman forms of [[Belly Dance|belly-dancing music]] known as ''fantazi'' from singers like [[Ebru Gündeş]] and with performers like [[Orhan Gencebay]] who added Anglo-American [[rock and roll]] to arabesque music.
=== Anatolian rock ===
{{Main|Anatolian rock}}
The Turkish rock scene began in the mid- to late 1960s, when popular [[United States]] and [[United Kingdom]] bands became well-known. Soon, a distinctively Turkish fusion of rock and folk emerged; this was called Anatolian rock, a term which nowadays may be generically ascribed to most of Turkish rock.<ref name="soundsofanatolia"/> [[Cem Karaca]] and [[Barış Manço]] are the best known performers and [[Moğollar]] is the best known group of older classical Anatolian rock music.
=== Pop-rock, Rock ===
As a singular phenomenon amidst popular currents since the mid-70s, [[Bülent Ortaçgil]] appeared as the urban songwriter/musician with a distinct musical quality, and became a role model for inspiring young musicians. He was the only Turkish musician for whom a tribute album was compiled that included several prominent performers from a wide gamut of different genres.<ref>{{cite web|url=http://www.tulumba.com/storeItem.asp?ic=MU960595DR097|title=Compilation album "Bülent Ortaçgil İçin Söylenmiş"|work=Tulumba.com |accessdate=April 10|accessyear=2005}}</ref>
Other recent rock bands with a more western sound include [[maNga (band)|maNga]], [[Duman (band)|Duman]] and [[Mor ve Ötesi]] who enjoy large mainstream success. [[Şebnem Ferah]] and [[Teoman]] are two examples of individual rock artists with substantial fan-bases. Turkey also boasts numerous large-scale [[rock festival]]s and events. Annually held rock festivals include [[Barışarock]], [[H2000 Music Festival]], [[Rock'n Coke]], and [[RockIstanbul]].
=== Underground and Clubs ===
There are many clubs across Turkey, especially across its Aegean region. The alternative music scene however is derived mostly from Istanbul's thriving underground club scene that sees [[Dj]]s merging the past with the present, utilising traditional motifs with new age sounds and electronic music. [[Mercan Dede]] is one of Turkey's most successful Dj's, mixing trance with historical and mystic [[Sufi]] songs.Another worldwide recognized name from the underground music scene of turkey is [[Mert Yücel]]. He's responsible for the first ever released [[house music]] album in Turkey.[http://webarsiv.hurriyet.com.tr/1999/09/16/143726.asp] Also he did worldwide acclaimed and respected releases on US and UK dance labels [http://www.hurriyet.com.tr/cumartesi/4750843.asp?gid=66]. Mert Yucel is one of the key names defining the underground house sound emerging from istanbul. [http://www.aksam.com.tr/arsiv/aksam/2005/05/21/cumartesi/cumartesi1.html].[http://www.discogs.com/artist/Mert+Yucel]
== Music industry ==
{{further|[[Music industry]]}}
The Turkish music industry includes a number of fields, ranging from record companies to radio stations and community and state orchestras. Most of the [[major label|major record companies]] are based in Istanbul's region of ''Unkapanı'' and they are represented by the ''Turkish Phonographic Industry Society'' (MÜ-YAP).<ref name="muyap">{{cite web|url=http://www.muyap.org/|title=Turkish Phonographic Industry Society|work=MÜ-YAP |accessdate=April 10|accessyear=2005}} They are part of the IFPI National group. The first long term punishment for piracy distribution had been handed out in 2006.</ref> The major record companies produce material by artists that have signed to one of their [[record label]]s, a [[brand name]] often associated with a particular genre or [[record producer]]. Record companies may also promote and market their artists, through advertising, public performances and concerts, and television appearances.
In recent years, the music industry has been embroiled in turmoil over the rise of the Internet downloading of [[copyright]]ed music and general piracy; many musicians and MÜ-YAP have sought to punish fans who illegally download copyrighted music.<ref name="muyap"/> On 13 June 2006 it was reported that MÜ-YAP and The Orchard, the world's leading distributor and marketer of independent music, had reached an agreement on digital global distribution, representing approximately 80% of the Turkish music market.<ref>{{cite web|url=http://www.prnewswire.com/news/index_mail.shtml?ACCT=104&STORY=/www/story/06-12-2006/0004378915&EDATE=|title=The Orchard Signs Global Distribution and Marketing Agreement With MU-YAP|work=PR Newswire |accessdate=June 13|accessyear=2006}}</ref>
There is not a substantial singles market in Turkey.<ref name="soundsofanatolia"/> It is album orientated, although popular singers such as [[Yonca Evcimik]] and [[Tarkan]] have released singles with success.<ref>See information on his domestic singles "[[Kuzu Kuzu]]" and "[[Hup]]".</ref> Most music charts not related to album sales, measure popularity by music video feedback and radio airplay.<ref>{{cite web|url=http://www.powerturk.com|title=Powerturk Charts|work=Powerturk TV|accessdate=December 8|accessyear=2001}}</ref>
Turkish radio stations often broadcast popular music. Each music station has a [[radio format|format]], or a category of songs to be played; these are generally similar to but not the same as ordinary generic classification. With the introduction of commercial radio and television in the early 1990s ending the [[monopoly]] of the [[Turkish Radio and Television Corporation]] (TRT), a multitude of radio and TV stations were opened by [[newspaper]] media moguls.<ref name="soundsofanatolia"/> These media chains sponsor award ceremonies such as the ''Kral TV'' awards for music, but most accredited music awards are based on sales given out by industry societies such as MÜ-YAP and the Magazine Journalists Society (MJS).<ref>{{cite web|url=http://www.kraltv.com.tr|title=Kral TV Music Channel|work=Kral|accessdate=June 11|accessyear=2001}}</ref><ref>{{cite web|url=http://www.mgdmagazin.com/mgd.asp|title=Magazine Journalists Society|work=MJS|accessdate=December 18|accessyear=2005}}</ref>
Though major record companies dominate the Turkish industry, an [[indie music|independent music industry]] (''indie music'') does exist. Indie music is mostly based around local record labels with limited, if any, retail distribution outside a small region. Artists sometimes record for an indie label and gain enough acclaim to be signed to a major label; others choose to remain at an indie label for their entire careers. Indie music may be in styles generally similar to mainstream music, but is often inaccessible, unusual or otherwise unappealing to many people. Indie musicians often release some or all of their songs over the Internet for fans and others to download and listen to.<ref name="musicscene"/>
Perhaps the most successful Turkish name associated with the indie music outside of Turkey is [[Ahmet Ertegün]] of [[Atlantic Records]]. His promotion of some of the most famous [[R&B]] and soul artists in [[North America]] and his contribution to the American [[music industry]] has earned a place in [[Rock N' Roll Hall of Fame|Rock and Roll Hall of Fame]], together with his brother [[Nesuhi Ertegün|Nesuhi]].
==Music education==
{{further|[[Music education]]}}
Music is an important part of [[education in Turkey]], and is a part of most or all school systems in the country. High schools generally offer classes in singing, mostly choral, and instrumentation in the form of a large [[school band]] or social clubs and communities for Turkish classical or folk music, known as ''cemiyets''.<ref name="soundsofanatolia"/> Music may also be a part of theatrical productions put on by a school's drama department. Many public and private schools have sponsored music clubs and groups, most commonly including the [[marching band]] that performs ''Mehter'' marches at school festivals.
Higher education in the field of music in Turkey is mostly based around large [[university|universities]], connected to state music [[academy|academies]] and [[music school|conservatories]]. Universities may also have a [[musicology]] department, and do research on many styles of music especially the Turkish traditional genres, while also keeping a database of sounds in their sound libraries.<ref name="soundsofanatolia"/>
== Holidays and festivals ==
{{further|[[Festivals in Republic of Turkey|Festivals]] and [[Holidays in Turkey|public holidays]]}}
Music is an important part of several Turkish holidays and festivals, especially playing a major part in the springtime celebration of [[Newroz]] and religious festivities such as [[Ramadan]].<ref name="soundsofanatolia"/> New year is a traditional time for the belly dancer and weddings are celebrated with upbeat tunes, while funerals are mourned with musical laments. Patriotic songs like the national anthem, "[[İstiklâl Marşı|The Independence March]]", are a major part of public holiday celebrations such as [[Holidays in Turkey|National Children's Day]] celebrations on [[23 April]] and [[30 August]] Victory Day celebrations, a holiday that marks [[Turkish War of Independence|Turkish independence]].<ref name="soundsofanatolia"/> Music also plays a role at many regional festivals that aren't celebrated nationwide, for example a music and dance parade and festival in [[Zonguldak]].
Istanbul, [[Ankara]] and [[İzmir]] are also home to numerous [[music festival]]s which showcase styles ranging from the blues and jazz to indie rock and heavy metal. Some music festivals are strictly local in scope, including few or no performers with a national reputation, and are generally operated by local promoters. Recently large soft drink companies have operated their own music festivals, such as [[Rock'n Coke]] and [[Fanta]] parties, which draw huge crowds.
== See also ==
*[[Turkish musical instruments]]
*[[Turkey in the Eurovision Song Contest]]
*[[Festivals in Republic of Turkey|List of music festivals in Turkey]]
*[[List of Turkish musicians]]
*[[List of Turkish audio engineers]]
*[[List of Turks|List of Turks in world culture]]
*[[Mercan Dede]]
*[[Burhan Ocal]]
*[[Selim Sesler]]
*[[Laco Tayfa]]
*[[Babazula]]
*[[Wojciech Bobowski]]
*[[Arif Mardin]]
*[[Ertegun brothers|The Ertegün Brothers]]
*[[Emre Araci]]
== Notes and references ==
{{reflist|2}}
== Further reading ==
* {{cite book|author=Head, Matthew|title=Orientalism, Masquerade and Mozart's Turkish Music (Royal Musical Association Monographs S.)|publisher=Ashgate|year=2000|id=ISBN 0-947854-08-8}}
*{{cite book|author=Bellman, Jonathan|title=The Style Hongrois in the Music of Western Europe|publisher=Northeastern University Press|year=1993|id=ISBN 1-55553-169-5}}
* {{cite book|author=Popescu-Judetz, Eugenia|title=Prince Dimitrie Cantemir: Theorist and Composer of Turkish music|publisher=Pan Books|year=1999|id=ISBN 975-7652-82-2}}
* {{cite book|author=Tietze, Andreas & Yahalom, Joseph|title=Ottoman Melodies - Hebrew Hymns: A 16th Century Cross-Cultural Adventure|publisher=Akademiai Kiado, Bibliotheca Orientalis Hungarica|year=1995|id=ISBN 963-05-6864-0}}
*{{cite book|author=Stokes, Martin|title=Sounds of Anatolia|publisher=Penguin Books|year=2000|id=ISBN 1-85828-636-0}}
*{{cite book|author=Bartok, Bela & Suchoff, Benjamin|title=Turkish Folk Music from Asia Minor (The New York Bartok Archive Studies in Musicology, No. 7)|publisher=Princeton Univ Pr|year=1976|id=ISBN 0-691-09120-X }}
*{{cite web|url=http://tarkandeluxe.blogspot.com/2004/11/whose-song-is-it.html|title=Whose Song is it?|work=Yildirim, Ali © Tarkan Deluxe|accessdate=November 9|accessyear=2004}}
*{{cite web|url=http://tarkandeluxe.blogspot.com/2004/12/turkish-humanism-in-13th-century.html|title=Yunus Emre: Sufi and Mystic|work=Yildirim, Ali © Tarkan Deluxe|accessdate=December 18|accessyear=2004}}
*{{cite web|url=http://www.turkishembassy.org/index.php?option=com_content&task=view&id=101&Itemid=113|title=Turkish Music|work=Turkish Embassy|accessdate=April 16|accessyear=2006}}
==External links==
{{sisterlinks|Music of Turkey}
*(http://www.onlineizlesek.com Comprehensive Turkish Music Video Archive
*(http://www.Music of Turkey (sidebar)portal.org Comprehensive website about Turkish Music
*(http://www.istanbulpark.de/c/ytm_gallery/ytm_top_page.php Turkish Top 20
*(http://www.turkish-clarinet.com Turkish Clarinet Music
*(http://www.tuerkeimusik.de) (Turkish music conquers the charts)
*[http://tarkandeluxe.blogspot.com/2006/02/music-of-turkey.html Music of Turkey]
*[http://www.imdb.com/title/tt0459242/ Crossing The Bridge: Sounds from Istanbul]
*[http://www.Music of Turkey (sidebar).org/ Turkish Music and Voice Library]
*[http://aton.ttu.edu/Tatar_Ezgileri.asp Archive of Turkish Oral Narrative]
*[http://www.neyneva.com/eng Ney Making House Web Site]
*[http://www.goldenhorn.com Golden Horn Records]
*[http://turkey.insomniaradio.net Insomnia Radio: Turkiye (Turkish Indie Music Available in English & Turkish)]
*[http://www.fonsvitae.com/helveti-jerrahi-muzaffer.html Lifting the Boundaries: Muzaffer Efendi and the Transmission of Sufism to the West by Gregory Blann]
*[http://musicalconfrontations.com/MC5/wlc/mcb/cul/mim/mfl/mtm/foc/foc0000000001.htm Field music of the Ottoman Court and Europe]
*[http://www.umbc.edu/eol/wikipedia/Merhaba.mp3 ''Mevlit'' "''Merhaba bahrı''" excerpt sung by Kâni Karaca]
*[http://costak.blogspot.com/2006/03/kanto-article-by-cemal-nl.html Kanto]
*[http://www.youtube.com/watch?v=eJWIQcJALQ4 TUĞÇE BECERİKLİ -- Ben Kalender Meşrebim Güzel Çirkin Aramam(Kanto)]
*[http://www.fezaneverd.com Feza Neverd] Interesting instrumental music composed by Mehmet Gencler, for free download..
{{Turkey topics}}
{{SoutheasternEuropeanMusic}}
{{Balkan music}}
{{Middle Eastern music}}
{{Music of Europe}}
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