Editing Music of Turkey (section)

== Classical music ==
{{Main|Turkish classical music}}
[[File:Süleymanname ottoman ensemble (1530).JPG|thumb|Ottoman orchestra of [[Suleiman the Magnificent]]]]
{{listen
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 | title        = " Katibim (Üsküdar'a Gider iken)"

 | description  = An example of Turkish classical music.

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}}
Ottoman court music has a large and varied system of modes or scales known as [[Turkish makam|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.<ref>{{Cite journal|last=Karabaşoğlu|first=Cemal|date=2015-02-12|title=Tradition of Notation in the History of Turkish Music|journal=Procedia - Social and Behavioral Sciences|series=International Conference on New Horizons in Education, INTE 2014, 25–27 June 2014, Paris, France|volume=174|pages=3832–3837|doi=10.1016/j.sbspro.2015.01.1121|doi-access=free}}</ref>

A specific sequence of classical Turkish musical forms becomes a ''fasıl'', a suite consisting of 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, called [[Taqsim|taksim]].<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 Savaş Ş. Barkçin)|url-status=dead|archive-url=https://web.archive.org/web/20061215165158/http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm|archive-date=December 15, 2006}} [[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> A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, ''şarkı''. A strictly classical fasıl (in the early 19th-century style) remains in the same [[Turkish makam|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|access-date=April 15, 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]], [[Zekai Tunca]], [[:tr:Arif Sami Toker|Arif Sami Toker]] and [[Emel Sayın]].<ref>https://www.antalyahakkinda.com/haber/23810718/turk-sanat-muziginin-efsane-ismi-emel-sayin-kimdir-aslen-nereli-kac-evlilik-yapti</ref>

=== Ottoman harem music ===
{{further|Belly dance}}
[[File:Surname_17b.jpg|thumb|upright=0.7|Female musical players. Ottoman miniature painting, 18th century.]]

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. [[Eunuch (court official)|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 dance]] was performed by women for women. This female dancer, known as a ''rakkase'', which is the Arabic word for "female dancer", 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|access-date=February 2, 2002}}</ref> Although [[çengi]]s did. As well as [[köçek]]s.

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]], illustrated by the fact that the Greek belly dance is sometimes mistakenly called [[Tsifteteli]]. However, [[Çiftetelli]] is now a form of folk music, with names of songs that describe their local origins, whereas rakkas, as the name suggests, is from Arabic which means "male dancer".<ref name="rakkas"/> Dancers are also known for their adept use of finger cymbals as instruments, also known as [[zill|zils]].

=== Romani influences ===
<!-- Deleted image removed: [[Image:gypsy musicians.png|thumb|200px|19th century print of Romani musicians]] -->
{{further|Romani music}}

[[Romani people|Romani]] 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]], [[Qanun (instrument)|kanun]], and [[darbuka]]. Clarinetist [[Mustafa Kandıralı]] is a well-known fasil musician.

=== Military music ===
{{Main|Ottoman military band}}
[[File:Surname-ı Vehbi (fol. 172a).jpg|thumb|upright|Surname-i Vebbi (fol. 172a), showing military band.]]

The Janissary bands or ''[[Mehter]]'' are considered to be the oldest type of military marching band in the world.<ref name="military">{{cite web|url=http://www.militarymusic.com/200302.htm#anchor5|title=Ottoman Military Music|work=MilitaryMusic.com|access-date=February 11, 2003 |archive-url = https://web.archive.org/web/20030222130546/http://www.militarymusic.com/200302.htm#anchor5 <!-- Bot retrieved archive --> |archive-date = February 22, 2003}}</ref> 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|access-date=October 3, 2002|url-status=dead|archive-url=https://web.archive.org/web/20051220163724/http://www.musicaltimes.co.uk/archive/0203/arac.html|archive-date=December 20, 2005}} 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|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 included in [[Ludwig van Beethoven]]'s ''[[Symphony No. 9 (Beethoven)|Symphony Number 9]]'', and he composed a "Turkish March" for his ''[[The Ruins of Athens|Incidental Music to The Ruins of Athens, Op. 113]]''. [[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)|bells]] 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. {{Citation needed|date=February 2011}}

=== Western Influence on Turkish classical music ===
[[File:2024.11.23-ANTALYA SENFONİ-KONSER-ÖNSEÇİM2 copy.jpg|thumb|[[Antalya State Symphony Orchestra]] in 2018]]

While the European military bands of the 18th century introduced the percussion instruments of the Ottoman janissary bands, a reciprocal influence emerged in the 19th century in the form of the Europeanisation of the Ottoman army band. In 1827, [[Giuseppe Donizetti]], the elder brother of the renowned Italian opera composer [[Gaetano Donizetti]], was invited to become Master of Music to Sultan [[Mahmud II]].<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|access-date=July 15, 2001|url-status=dead|archive-url=https://web.archive.org/web/20010720130859/http://www.trin.cam.ac.uk/empires/prognotes.htm|archive-date=July 20, 2001}}</ref> A successor of Donizetti was the German musician [[Paul Lange (musician)|Paul Lange]], formerly music lecturer at the [[American College for Girls]] and at the [[German High School Istanbul|German High School]], who took over the position of Master of the Sultan's Music after the Young Turk Revolution in 1908 and kept it until his death in 1920. A son of Paul Lange was the Istanbul-born American conductor [[Hans Lange (conductor)|Hans Lange]]. The Ottoman composer [[Leyla Saz]] (1850–1936) provides an account of musical training in the Imperial Palace in her memoirs. As the daughter of the Palace surgeon, she grew up in the Imperial harem where girls were also given music lessons in both Turkish and Western styles.<ref>{{cite web |last1=Woodard |first1=Kathryn |title=Music in the Imperial Harem and the Life of Ottoman Composer Leyla Saz |url=http://www.soniccrossroads.com/research |website=Sonic Crossroads}}</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'', signaled 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>{{cite journal |last1=Woodard |first1=Kathryn |title=Music Mediating Politics in Turkey: The Case of Ahmed Adnan Saygun |journal=[[Comparative Studies of South Asia, Africa and the Middle East]] |date=2007 |volume=27 |issue=3 |pages=552–562 |doi=10.1215/1089201x-2007-032 |s2cid=143740608 |url=http://www.soniccrossroads.com/research|url-access=subscription }}</ref> 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 south-eastern Turkey in 1936 within the context of these works.<ref>{{cite book |author1=Bartok, Bela |author2=Suchoff, Benjamin |name-list-style=amp |title=Turkish Folk Music from Asia Minor (The New York Bartok Archive Studies in Musicology, No. 7) |publisher=Princeton University Press |year=1976 |isbn=0-691-09120-X |url-access=registration |url=https://archive.org/details/turkishfolkmusic0000bart }}, 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 [[Fazıl Say]], [[İdil Biret]], [[Suna Kan]], the [[Önder Sisters]] and the [[Pekinel sisters]].