Editing Music of Turkey (section)

== Early Years of The Republic ==
[[File:Musiki Muallim Mektebi (Music Teachers’ School, later Ankara State Conservatory, 1930s).jpg|thumb|Students in ''Musiki Muallim Mektebi'' (Music Teachers’ School, later [[Ankara State Conservatory]], 1930s) with [[Osman Zeki Üngör]]]]
After the [[Turkish War of Independence]] ended in 1923, and the borders were drawn, there was a social and political revolution under the leadership of [[Mustafa Kemal Atatürk]]. This revolution opted to Westernize the way of living in Turkey. By 1929, all public and commercial communications were made in the [[Latin alphabet]], completely taking the written [[Ottoman Turkish language]] out of circulation. A new constitution was written, one that was modeled after the French. This new constitution was designed to make the new [[Republic of Turkey]] into a secular, modern, nation-state. Every aspect of the revolution, from major policy changes to clothing reforms, was made in accordance with the [[Kemalist Ideology]]. All affairs were carried out followed by a chain of military command for the purpose of reaching the level of Western civilization. Both religious and Turkish classical music was impacted by this top to bottom revolution.

On November 1, 1934 [[Atatürk]] made a speech in the [[Grand National Assembly of Turkey]]. [[Alaturca|Alaturca music]] was banned on radios, public places as well as private properties.<ref>USTA, Nazlı. "[http://www.researchgate.net/publication/287958457_Erken_Cumhuriyet_Donemi'nde_Turkiye'de_Muzigin_Donusumu_The_Transformation_of_Music_in_Early_Republican_Period_in_Turkey The Transformation Of Music In Early Republican Period In Turkey]." Researchgate.net, July 2010, .</ref> Here is the excerpt from the speech, concerning Turkish music, "Folks, we all know how sensitive we, the Turkish, are towards the matters of our cultural legacy…. I am aware what kind of progress that my people want to see within fine arts delivered by the new generation of artists, and musicians. If you ask me, what would be most efficient and quick to tackle first within the fine arts is Turkish Music. The music we are made to listen to these days is far from being a point of pride for Turkish people. We must all know this. We must take our great nation's idioms, stories, experiences and compose them, but only complying to the general rules of music. I wish that the Ministry of Cultural Affairs take this matter seriously, and work alongside the law-makers of our country."<ref name="TUNÇAY 2009, pp. 54">TUNÇAY, Çağlar. "Musical Implementations of Atatürk's Term." 9 Eylül Üniversitesi, Atatürk İlkeleri Ve İnkılap, 2009, pp. 54–95.</ref>

Right after this speech, on November 2, 1934, The Department of Publishing and Press banned Alaturca music, knowing what Mustafa Kemal meant when he said "… but only complying to the general rules of music…" was that the only acceptable type of music available to the public will be music following the principles of [[Tonal music|western tonal music]]. The Turkish composers, who were educated abroad in the beginning of the century and came back to Turkey, were assigned to teach classical Turkish musicians the western way of writing and playing music. The Presidential Symphony Orchestra, established back in 1924 started giving weekly free performances in schools specifying in Music Education. New instruments like pianos, trumpets, and saxophones were bought for cultural centers in villages, not just in Istanbul, but in many places like [[Bursa]], [[Çorum]], [[Gümüşhane]], and [[Samsun]].<ref name="TUNÇAY 2009, pp. 54"/>

Along with the radical ideology change, and the sudden application of these new ideas came an obvious tear in the fabric of the society. People who couldn't listen to Turkish music on Turkish Radio sought out the next best thing and started listening to the Arabic Radio. There are records of Turkish people calling into [[Egypt]]ian, [[Crimea]]n, and [[Haifa]]n radio stations requesting Turkish songs they were used to listening to, since The Middle East already consumed and re-created a lot of Turkish Music since the rise of the [[Ottoman Empire]] in the middle of the millennium.<ref>ADIGÜZEL, Adnan. "WESTERNIZATION OF TURKISH (CLASSIC) MUSIC FROM OTTOMAN EMPIRE TO TURKISH REPUBLIC AND PROHIBITED YEARS OF TURKISH MUSIC." Eskişehir Osmangazi Üniversitesi, Eskişehir Osmangazi Üniversitesi, İlahiyat Fakültesi, İslam Tarihi Ve Sanatları Bölümü, 0AD, pp. 4–10.</ref>
Turkish people started listening to other nations' version of Turkish songs. This cleared the way for the [[Arabesque music]] to become hugely popular in the 70s. Today, there are still prolific and popular Arabesque musicians in Turkey. The ban in the early years of the Republic is exactly why Arabesque Music became a cultural phenomenon.<ref>Karşıcı, Gülay. "MÜZİK TÜRLERİNE İDEOLOJİK YAKLAŞIM: 1970-1990 YILLARI ARASINDAKİ TRT SANSÜRÜ." CIU, Jan. 2010, pp. 170–177.</ref>

===Kanto (Cantare music)===
{{Main|Kanto (music)}}
[[File:Bodrum "İşte Benim Zeki Müren" Sergisi Konser Kostümü 2015.jpg|thumb|[[Zeki Müren]] is a figurehead among LBGT society. His music was also influenced by Kanto.]]
[[Italy|Italian]] theater and opera have had a profound effect on [[Turkish culture]] in the past century. Like the terminology of seamanship, the terminology of music and theater is derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "[[sahano]]", the backstage was referred to as "[[koyuntu]]", backdrops depicting countryside were "bosko", the applause was "furi" and the songs sung between the acts and plays were called "kanto".

As with their Italian counterparts, the Turkish troupes employed songs and music before the show and between the acts to pique people's interest and draw in customers. The troupes orchestra would be made up of such instruments as the [[trumpet]], [[trombone]], [[violin]], [[Drum kit|trap drum]] and [[cymbal]]s. The orchestra would start to play popular songs of the day and marches in front of the theatre about an 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.
[[File:DarioMoreno-Harcourt-1952.jpg|thumb|[[Dario Moreno]]]]
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 effects 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.

Eventually kanto became more of a definition, a generalized genre than a musical term. Any tune that was outside of the day's 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 the middie-class, urban culture of Istanbul. Kanto has been viewed as a forerunner of today's pop culture.