The Evolution of Turkish Music: From Imperial Roots to Modern Influences

This article delves into the rich history of Turkish music, tracing its origins in Central Asia, its development within the Ottoman Empire, and its encounter with Western musical traditions. It explores the unique characteristics of Turkish classical music (makam), its blending with other cultures, and the challenges it faced during periods of Westernization. The article examines the impact of political and social changes on Turkish music, including the suppression of traditional forms and the rise of new genres. It also highlights the contributions of key figures and the ongoing efforts to preserve and promote Turkish musical heritage.

Origins in Central Asia and the Development of Makam

The roots of Turkish music can be traced back to the nomadic tribes of Central Asia and Siberia. Early Turkish music likely featured pentatonic scales, a characteristic also found in the traditional music of China and Japan. This pentatonic foundation gradually evolved as the Turks migrated westward and encountered Persian, Arab, and other cultures. This interaction led to the development of makam, a complex system of melodic modes that forms the foundation of Turkish classical music. Makam is not simply a scale; it encompasses a set of rules governing melodic development, ornamentation, and improvisation. Akdeniz Erbaş’s channel provides valuable insights into both Anatolian and Central Asian musical traditions.

The concept of makam wasn’t limited to Turkish music; it extended across a broad musical family encompassing Arabic, Persian, Armenian, and even medieval European music. In Europe, the troubadours and traveling minstrels practiced forms of makam music. The influence of makam can also be seen in Spanish music, a legacy of the Moorish presence in the Iberian Peninsula. For approximately 1500 years, the Turks have been a prominent member of this musical family, not only preserving but also advancing the art form. They developed new makams, such as Kürdili Hicazkar and Yavuz Acem Kürdî, and created complex musical forms like kâr, beste, and Mevlevi Ayin. This rich tradition has produced a classical repertoire that deserves recognition alongside Western classical music.

The Interplay of Turkish and Western Music

The interaction between Turkish and Western music dates back centuries. During the reign of Suleiman the Magnificent, King Francis I of France sent a musical delegation to the Ottoman court. This exchange inspired Turkish composers to incorporate Western musical elements, leading to the development of musical styles known as Franki usul and Frankiçe. In the 17th century, a Venetian opera troupe was invited to perform in Istanbul during the reign of Grand Vizier Köprülü Fazıl Ahmet Pasha. Ali Ufki, a composer of Polish origin who served in the Ottoman court, played a crucial role in introducing Western musical forms and instruments to the Ottoman elite. He worked to integrate these elements with Turkish musical traditions.

However, from the 17th century onward, a shift in perspective began to emerge. Fueled by a sense of cultural superiority, Western observers increasingly portrayed Turks as “backward” and their music as inferior. In 1683, Charles Patin, a writer specializing in Eastern affairs, claimed that Turkish music lacked harmony. Jules Ronet, writing in the 19th century, dismissed Turkish music as lacking the sophistication of Western music, attributing this to the perceived monotheistic worldview of the Turks. Similar sentiments were expressed by Stefan George, who asserted that Turks lacked a genuine artistic tradition, claiming that any artistic achievements were merely imitations of Byzantine art. This orientalist bias continues to influence perceptions of Turkish music today.

The Tanzimat Era and the Rise of Westernization

The Tanzimat reforms of the 19th century marked a period of increased Westernization in the Ottoman Empire. Sultan Abdülmecid, a skilled pianist, embraced Western musical forms and established a Western-style conservatory. Italian composers were invited to Istanbul, and Western operas and concerts became increasingly popular. While Sultan Abdülhamid II was initially skeptical of Western music, he eventually commissioned works from Western composers and supported the establishment of military bands. However, this embrace of Western music came at a cost to traditional Turkish musical forms. The mevlevihane (Sufi lodges) and other centers of traditional music faced neglect, and the art of makam was threatened. The suppression of traditional forms was exacerbated by a growing perception among Western observers that Turkish music was stagnant and lacked the dynamism of Western music.

The rise of Westernization also led to a shift in aesthetic preferences. Turkish intellectuals began to view Western music as a symbol of modernity and progress, while traditional Turkish music was often dismissed as outdated and unsophisticated. This sentiment was reflected in Turkish literature, where traditional instruments like the ney and oud were often portrayed negatively, while the piano was celebrated as a symbol of refinement and culture. The suppression of traditional music was not merely a matter of aesthetic preference; it was also a reflection of broader political and social forces at play in the Ottoman Empire.

The Struggle for Preservation and Recognition

Despite the challenges posed by Westernization, Turkish musicians and intellectuals continued to preserve and promote their musical heritage. Composers like Dede Efendi and Şakir Ağa played a crucial role in preserving the classical repertoire and developing new compositions within the makam tradition. However, their efforts were often hampered by a lack of official support and a growing preference for Western music among the Ottoman elite. The suppression of traditional music reached its peak during the early years of the Turkish Republic, when the government actively promoted Western musical forms and suppressed traditional Turkish music. This policy was justified on the grounds that Western music was more “modern” and “universal,” while Turkish music was seen as “backward” and “provincial.”

Despite these challenges, Turkish musicians and intellectuals continued to fight for the preservation and recognition of their musical heritage. In the 1920s and 1930s, a group of Turkish composers and musicologists began to collect and document traditional Turkish music, creating a valuable archive of recordings and manuscripts. They also established music schools and conservatories dedicated to the study of Turkish music, ensuring that the tradition would be passed on to future generations. In recent years, there has been a growing revival of interest in Turkish music, both within Turkey and abroad. Turkish musicians are increasingly performing and recording traditional Turkish music, and there is a growing demand for Turkish music concerts and festivals. This revival of interest is a testament to the enduring power and beauty of Turkish musical heritage.

References

• Akdeniz Erbaş’s YouTube channel
• Necip Asım’s writings on Turkish music