Professional Documents
Culture Documents
Conference paper European Association for Music in Schools ( Bolu, 2010) & British Forum on Ethnomusicology ( Oxford, 2010) R EVISION
Tonal organisation
Musical knowledge concerning this field was generally situated on a rather implicit or practical level not on an explicit or theoretical level. Music theoretical questions were preferably illustrated on the instrument or by singing, instead of verbally explained. Comparing with the Western system proved to be the most productive way to define the typical characteristics of the Turkish system, namely horizontality and monophony. Every musician was aware of the larger number of tonal subdivisions existing in the Turkish tonal system, but their exact place and quantity were not always consciously known. The subdivisions were called commas, microtones and most frequently, but incorrectly, quartertones. Some respondents mentioned the fact that microtones are not confined to Eastern music, but were also found in certain kinds of Western music, such as ancient Greek and Byzantine music. Few musicians were aware of the differences between the Turkish tuning system and the Western equal temperament. Concerning the relation between Turkish folk music and Turkish classical music, some musicians argued that folk music uses a smaller number of microtones than classical music, but also that this gamut can be extended according to the needs of the music or the performer. The exact difference between the classical and folk music system remained undefined throughout the interviews. All musicians possess some knowledge about the makam system, which is defined by the classical musician as a system of rules for melody formation. Most of the musicians transplanted the makam system, which is more likely to be associated with Turkish classical music, easily to the folk musical field. The term ayak was known to some as the (academical) folk music equivalent of makam. The makams or ayaks of Turkish folk music were considered as differing in name and/or in number from the classical makams. Most of the musicians knew some names of makams or ayaks, and were able to recognise, play or sing the most common ones.
Time organisation
Regarding terminology, the concept of rhythm was usually used in the sense of metre, while the term tempo also caused confusion. Rhythm and metre were considered as essential aspects of Turkish folk music, connected to poetry and song texts, dance, melody, and performance aspects such as plectrum strokes. The classical musician defined the Turkish metric usul system as being cyclic versus the rigid (divisive) Western system. Concerning the metrical construction, some musicians pointed out that all metres exist out of combined units of 2 or 3 beats. Symmetrical and asymmetrical metres were also 2
mentioned, along with the fact that one time signature generally possesses different distribution possibilities. Almost all respondents spontaneously named or illustrated typical kinds of metre belonging to certain regions or genres, which transformed the discourse into a more concrete level.
Formal organisation
While rhythm was related to the verses of song texts, the larger structures of poetry were considered as defining the longer musical phrases and the general shape of a Turkish folk song. A strophic structure (with repetitions) was discerned besides a through-composed form (without repetitions). Defining musical forms and genres turned out to be complicate d. It didnt become clear whether different genres should be associated with different regions, or more general forms are existing under different names in the different regions. Most musicians mentioned large covering categories of Turkish folk music, such as uzun hava and krk hava, or trk. The characteristics of specific genres however, were not easily described. Genres were characterised either by extra- or meta-musical parameters such as region, instrument and/or dance, or by musical parameters as tempo and metre. Sometimes characterisation involved the concept style, which in turn was defined by the parameters rhythm, melody and tavr. Tavr, a concept signifying manner, style, was used to denote region-specific playing styles, involving plectrum techniques or (under the name of its vocal pendant az) singing styles. Tavr and az are crucial concepts in defining regional styles and genres and in the performance-related discourse.
Variation was generally accepted, on the condition that it be limited, namely in the form of ornamentation, small additions or omissions, tempo fluctuations and rhythmical variations. About improvisation, visions differed more widely. It did not become clear to which extent and in which cases improvisation opportunities occur, and there was no unanimity about the question whether vocal or instrumental improvisation is more common. However, views converged on the recognition of the introductory uzun hava form as being the pre-eminent improvisation opportunity. Improvisation, like interpretation and performance practice in general, was considered to be based on the knowledge of existing models and repertoire.
specific traditions or contexts. The language of song texts was described as difficult, metaphoric or literary. The sometimes nonsensical or superficial nature of Turkish folk music texts was mentioned by the Belgian musician.
Summary
In the music-theoretical field, notation skills were considered as very important, but not all respondents had sufficiently developed skills at their disposal. The tonal organisation of Turkish music was generally perceived as differing from the Western system, but not in a radical, incompatible way. Explicit theoretical knowledge about the pitch and melodic organisation of Turkish folk music (if necessary in comparison with the classical system) could be still further developed. Metre and rhythm, as well as tonal organisation, were approached in a practical, rather implicit way and inextricably associated with concrete musical genres, as with song texts, dance forms and performance techniques. Musical forms were also related to textual structures; genres were usually defined by certain musical and meta-musical parameters, and regional styles by specific performance-related aspects. Explicit formulation of concrete musical features is still further developable. Performance-related knowledge invoked either an implicit and practical approach or an abstract-philosophical discourse. Depending on the musicians attitude(s) concerning the performance of the traditional repertoire, a broad range of interpretational styles turned out to be valid, involving authentic performance as well as freer or westernised styles. Improvisation was one of the most discussable topics. The original and actual meanings and functions of the repertoire were considered as very important and seemed to be in general quite well-known by the musicians. This knowledge turned to be based on ad hoc source consulting and text interpretation, as well as on acquired acquaintance with cultural traditions and living conditions.
Bibliography
Akdou, O. 1996. Trk Mziinde Trler ve Biimler. Izmir: Ege niversitesi Basmevi. Bykyldz, H.Z. 2009. Trk Halk Mzii. Istanbul: Papatya Yaynclk Eitim. City of Ghent. No date. Omgevingsanalyse etnisch culturele diversiteit 2009-2011. (http://www.gent.be/docs/Departement%20bevolking%20en%20Welzijn/Integratiedienst/ Beleidsplannen/Omgevingsanalyse%20ECD%20-%2026juni.pdf, Retrieved 19 May 2010). Ekmekciolu, ., C. Bekar and M. Kaplan. 2001. Trk Halk Oyunlar. Istanbul: Esin Yaynevi. Karahasan, T.H. No date. Ksa Sap Balama Metodu. Trabzon: Esen Ofset Matbaaclk. Stokes, M. 1992. The Arabesk Debate - Music and Musicians in Modern Turkey. Oxford Studies in Social and Cultural Anthropology. Oxford: Clarendon Press.