| |
 |
|
Zeki Müren and Sophia Loren |
| |
| Hüseyin Saadettin Arel, who advocated that an authentic polyphonic sound could be created in the traditional Turkish music system and that traditional instruments could also play an important part in Turkish orchestras. Later in the 1950s classical Turkish music entered a period of revival upon the establishment of the “Classical Chorus” by Mesut Cemil Tel, who had been working at various posts in the Ankara and İstanbul radios, and also upon the activities of organizations such as the Üsküdar Musiki Cemiyeti (Üsküdar Music Association) and Şark Musikisi Cemiyeti (Eastern Music Association). Mesut Cemil Tel, the first man to conduct a chorus of classical Turkish music in a professional manner, brought a modern and solemn concept of musicality to the performance of classical Turkish music, which had hitherto been degenerated. |
| |
The establishment of the first Turkish Music Conservatory in İstanbul in 1976 and the inauguration of the first State Classical Turkish Music Chorus under the direction of Dr. Nevzat Atlığ, heralded the golden age of classical Turkish music in terms of institutionalization. Eventually the Ankara, İzmir, Bursa, Samsun, Diyarbakır and Elazığ state classical Turkish music choruses, the İstanbul Historical Turkish Music Ensemble, the Konya Turkish Mystical Music Ensemble, the |
| |
|
| |
| |
| |
| |
| |
| |
|
| |
Edirne and İstanbul Turkish music groups, all affiliated to the Ministry of Culture, were established in this period. Turkish Music State conservatories commenced education in İzmir in 1984, |
|
| |
Gaziantep in 1988, Konya in 1994 and Afyon in 2001. Today the State choruses play an important role in the development and dissemination of classical Turkish music by means of regular concerts they perform as well as the radio and television programs and the tours they make at home and abroad. |
| |
| Besides composers such as Saadettin Kaynak, Şerif İçli, Selahattin Pınar and Avni Anıl; performers like Safiye Ayla, Hamiyet Yüceses, Müzeyyen Senar and Zeki Müren are among the famed artists of Republic era Turkish music with their compositions and especially performances in popular style. Artists such as Münir Nurettin Selçuk, Alaeddin Yavaşça, Bekir Sıtkı Sezgin, Meral Uğurlu, İnci Çayırlı with their performances in classical style and players like Niyazi Sayın, Aka Gündüz Kutbay, Necdet Yaşar, Erol Deran, Çinuçen Tanrıkorur and İhsan Özgen are some of the most prominent figures in classical Turkish music. |
| |
| Meanwhile, Professor Nevzat Atlığ received the Culture and Arts Grand Award of the Ministry of Culture and Tourism in 2005. |
| |
 Turkish Folk Music: The determining characteristic of Turkish folk music is that it is of anonymous origin. The anonymity of the melodies amounts to the continuation of a tradition by the transfer of the creativity of the people through generations. Along with the official music policy adopted in the Republic era, the folk melodies were considered the primary source of the “contemporary” Turkish music to be created. Accordingly, countrywide compilation trips were organized and due importance was attributed to forming an archive by recording the compiled melodies. The Ankara State Conservatory, which was established in 1936, undertook all the work on folk music and 10,000 melodies were recorded by musical notation and stored in the archives until 1952 through continuous efforts. |
| |
| State Radio broadcasts commencing in 1937 were still another factor in reviving the folk music. The authentic folk |
| |
| |
| |
| |
|
