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Suddenly, yesterday, one of my playlists only recommends Turkish albums/singers. It is a country music playlist of all USA artists that I've been listening to and building for a couple years. 154 songs total. Never had anything weird like this. Not one American artist is on the Recommendation list now. None of my other playlists are doing this. I logged out of all devices; deleted my apps; disconnected all apps; changed my password; customer service reset my account; I created a new private playlist and dragged all those (american) songs to it - and when I got done - all Turkish recommendations again. I did this 3 times - all new playlists did it. I just convinced my wife & kids to go to Spotify because of it's awesome algorithms. Now I look like a fool.
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The roots of traditional music in Turkey span across centuries to a time when the Seljuk Turks migrated to 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.[1]
With the assimilation 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 Greek, Armenian, Albanian, Polish, Azeri and Jewish communities, among others.[2] Many Turkish cities and towns have vibrant local music scenes which, in turn, support a number of regional musical styles. Despite this, however, western-style pop music lost popularity to arabesque in the late 1970s and 1980s, 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, electronica, hip-hop, rap and dance music in opposition to the mainstream corporate pop and arabesque genres, which many believe have become too commercial.[3]
Ottoman court music has a large and varied system of modes or scales known as makams, and other rules of composition. A number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation.[4]
A specific sequence of classical Turkish musical forms becomes a fasl, a suite consisting of an instrumental prelude (perev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations taksim.[5] A full fasl concert would include four different instrumental forms and three vocal forms, including a light classical song, ark. A strictly classical fasl (in the early 19th-century style) remains in the same makam throughout, from the introductory taksim and usually ending in a dance tune or oyun havas.[6] However shorter ark 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.
Other famous proponents of this genre include Sufi Dede Efendi, Prince Cantemir, Baba Hamparsum, Kemani Tatyos Efendi, Sultan Selim III and Sultan Suleyman the Magnificent. The most popular modern Turkish classical singer is Mnir Nurettin Seluk, who was the first to establish a lead singer position. Other performers include Blent Ersoy, Zeki Mren, Mzeyyen Senar and Zekai Tunca.
Traditional instruments in Turkish classical music today include tambur -generally use as tanbur - long-necked plucked lute, ney end-blown flute, kemene bowed fiddle, oud plucked short-necked unfretted lute, kanun plucked zither, violin, and in Mevlevi music, kdm drum and a harp.
From the makams of the royal courts to the melodies of the royal harems, a type of dance music emerged that was different from the oyun havas of fasl 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 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.[7]
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.[7]
Modern oriental dance in Turkey is derived from this tradition of the Ottoman rakkas. Some mistakenly believe that Turkish oriental dancing is known as iftetelli 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, iftetelli 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".[7] Dancers are also known for their adept use of finger cymbals as instruments, also known as zils.
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 fasl music (a style, not to be confused with the fasl 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.[1]
Roma have also influenced the fasl itself. Played in music halls, the dance music (oyun havas) required at the end of each fasl 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 fasl are the clarinet, violin, kanun, and darbuka. Clarinetist Mustafa Kandral is a well-known fasil musician.
The Janissary bands or Mehter Takm are considered to be the oldest type of military marching band in the world.[8] 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.
Musical relations between the Turks and the rest of Europe can be traced back many centuries,[9] and the first type of musical Orientalism was the Turkish Style.[10] European classical composers in the 18th century were fascinated by Turkish music, particularly the strong role given to the brass and percussion instruments 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 Number 9, and he composed a "Turkish March" for his Incidental Music to The Ruins of Athens, Op. 113. Wolfgang Amadeus Mozart wrote the "Ronda alla turca" in his Sonata in A major and also used Turkish themes in his operas, such as the Chorus of Janissaries from his Die Entfhrung aus dem Serail (1782). This Turkish influence introduced the cymbals, bass drum, and bells into the symphony orchestra, where they remain. Jazz musician Dave Brubeck wrote his "Blue Rondo la Turk" as a tribute to Mozart and Turkish music. [citation needed]
After the decline of the Ottoman Empire and the creation of a Turkish republic, the transfer of the former Imperial Orchestra or Mzka- Hmayun 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 Orkestras, signaled a Westernization of Turkish music. The name would later be changed to the Presidential Symphony Orchestra or Cumhurbakanl Senfoni Orkestras.[1]
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 Reit Rey, Ulvi Cemal Erkin, Ahmet Adnan Saygun, Necil Kazm Akses and Hasan Ferit Alnar, who became known as the Turkish Five.[13] 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.[1] 152ee80cbc
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