TRADITIONAL MUSIC IN TRADITIONAL MUSIC IN TURKISH MUSIC EDUCATIONTURKISH MUSIC EDUCATION

ASSİST. PROF. DR. ATİLLA COŞKUN ASSİST. PROF. DR. ATİLLA COŞKUN TOKSOYTOKSOY

ISATNBUL TECHNICAL UNIVERSITY ISATNBUL TECHNICAL UNIVERSITY TURKISH MUSIC STATE TURKISH MUSIC STATE

CONSERVATORYCONSERVATORY

Looking at Turkish music education history, it will be convenient to evaluate the traditional music education in two different periods, namely, the Ottoman Empire Period and the Republic period.

Within the westernization movement of the Ottoman Empire, modern music education methods of Europe were adopted, so the usage of notes started to take place in writing, performing and educating music. Moreover, important changes occurred in music education institutes and music life.  After the establishment of the republic, music education in Turkey was shaped according to the national policies basically by adopting the European education method. Therefore, these policies were effective on placement and teaching of traditional music in the music education.  

RRecently, some related examples can be observed.ecently, some related examples can be observed.

In this paper, the above mentioned period was examined in a historical context and then “practice” concept will be defined which is the basic education method of traditional music in Mediterranean region. Finally, with a modern point of view, an evaluation regarding the placement of the practice concept within the modern approaches used in the education of traditional music especially in primary and secondary schools will be made.

What’s traditional?

In this paper, I prefer using the term “Ottoman-Turkish Makam Music” to describe “traditional music”. As you know, “Ottoman-Turkish Makam Music” is based on “makam”. It’s also mainly a “vocal music”.

THE OTTOMAN PERIOD THE OTTOMAN PERIOD

Institutions in the Ottoman PeriodInstitutions in the Ottoman Period

TTwo significant institutions in the Ottoman history are wo significant institutions in the Ottoman history are the“Enderun” and the “Tekke-s” the“Enderun” and the “Tekke-s” bbeside the “Mehterhane”eside the “Mehterhane”..

Ottomans have founded the first education institution in the Ottomans have founded the first education institution in the palace, ranging from military to fine arts and from politics to palace, ranging from military to fine arts and from politics to diplomacy were taught at Enderun, initially founded by Fatih diplomacy were taught at Enderun, initially founded by Fatih Sultan Mehmet. Lots of significant artists graduated from this Sultan Mehmet. Lots of significant artists graduated from this school. Enderun, which also functioned as a conservatory, had school. Enderun, which also functioned as a conservatory, had important role in improving the aesthetic structure of the important role in improving the aesthetic structure of the Ottoman-Turkish music. Ottoman-Turkish music.

Tekke-s had an important role about “Turkish Sufi Music”. Music and dance took palace in tariqas like Mevlevilik, Kadiri, Rıfai, Bedevi, Şazeli, Bayrami, Devrani, Halveti. Many kinds of music instruments were used in tekke-s including ney, rebab, kudüm, bendir (bendir), Zil (halile) and def. Especially in Mevlevihanes, great composers appeared.

Until turning into “Muzika-i Humayun”, Mehterhane has served as the main institution of “military music”. In the Ottoman period, the members of Mehter were educated in Enderun.

The fundamental education system of Ottoman-Turkish The fundamental education system of Ottoman-Turkish Music: “MEŞK”Music: “MEŞK”

Meşk is an education system mainly based on Ottoman-Turkish Music Meşk is an education system mainly based on Ottoman-Turkish Music tradition and which has been conveyed not by written documents but tradition and which has been conveyed not by written documents but

by the “memories” from the past to the present like in many other by the “memories” from the past to the present like in many other eastern societieseastern societies and former western cultures and former western cultures. Rhythmic structure and . Rhythmic structure and lyrics are important complementary elements of the melody in lyrics are important complementary elements of the melody in Ottoman-Turkish musicOttoman-Turkish music.. SSince it is based on words due to its structureince it is based on words due to its structure,, thereforetherefore,, the principle component of the education system is to strike the principle component of the education system is to strike the rhythmic patterns (usul). Furthermore, that the lyrics were written the rhythmic patterns (usul). Furthermore, that the lyrics were written down instead of using music notation and that thdown instead of using music notation and that there are more found in ere are more found in lyrics bookslyrics books than the music notation documents underline clearly that than the music notation documents underline clearly that the lyrics were significant complementary element of the melody in the the lyrics were significant complementary element of the melody in the education system. education system.

"Meşk", a term borrowed from the calligraphy, "Meşk", a term borrowed from the calligraphy, means that to learn the writing style by rewriting means that to learn the writing style by rewriting them plenty of times under the supervision of a them plenty of times under the supervision of a teacher. teacher.

Regarding Turkish music education, it can be Regarding Turkish music education, it can be considered that an extensive repertory is memorized considered that an extensive repertory is memorized under the supervision of a teacher. “Memory” has a under the supervision of a teacher. “Memory” has a great importance in the Ottoman-Turkish music great importance in the Ottoman-Turkish music tradition. The number of memorized, in other words, tradition. The number of memorized, in other words, learnt by heart works is thought as a criterion learnt by heart works is thought as a criterion indicating the artist’s worth and level. If not indicating the artist’s worth and level. If not memorized, then the work could not be a part of the memorized, then the work could not be a part of the performer and could not be performed in a certain performer and could not be performed in a certain style and interpretation. style and interpretation.

The mThe memory and the number of memorized work are emory and the number of memorized work are somesome of the most important parts of the meşk system of the most important parts of the meşk system as a teaching method in Ottoman-Turkish music. Thus, as a teaching method in Ottoman-Turkish music. Thus, a teacher looks for some features, a teacher looks for some features, whetherwhether a hanende a hanende (singer) first of all like nice voice, fine hearing abilities, (singer) first of all like nice voice, fine hearing abilities, minimum rhythmic perception and marked musical minimum rhythmic perception and marked musical adequacy toadequacy to be be accept accepteded for the meşk, as general for the meşk, as general tendency in any other music education systems. A tendency in any other music education systems. A potentpotentialial hearing memory is a must to be successful in hearing memory is a must to be successful in music education with meşk method, because the music education with meşk method, because the number of memorized works is a criterion to number of memorized works is a criterion to understand the worth and level of an artist since no understand the worth and level of an artist since no music notation is used. music notation is used.

To make use of a “master teacher” was very important To make use of a “master teacher” was very important in such a method which is just based on the memory, in such a method which is just based on the memory, not a written source. not a written source.

The first thing to get from the master was to memorize The first thing to get from the master was to memorize the work, next to interpret this memorized piece. the work, next to interpret this memorized piece.

The The other other fundamental of the performance of fundamental of the performance of Ottoman-Turkish music was the style (üslup), which Ottoman-Turkish music was the style (üslup), which had also very substantial role in the education system. had also very substantial role in the education system. The style can be described as such: to perform the The style can be described as such: to perform the work with an expression appropriate to the meaning of work with an expression appropriate to the meaning of its lyrics, apt to the makam which was used for the its lyrics, apt to the makam which was used for the composition, without deforming the rhythmic pattern composition, without deforming the rhythmic pattern and the form and at last introducing own aesthetic and the form and at last introducing own aesthetic understanding while respecting to the composer’s. understanding while respecting to the composer’s.

With the recording With the recording

technologies, meşk altered in a technologies, meşk altered in a wayway where the records of the where the records of the major performers became the major performers became the master teachers for the next master teachers for the next generation along with the face generation along with the face to face education by a master to face education by a master teacher. teacher.

Tanburi Cemil Bey, who is the Tanburi Cemil Bey, who is the master teacher with his master teacher with his records and carried his style records and carried his style and fashion to the next and fashion to the next generation, is one of the most generation, is one of the most distinctive figures in terms of distinctive figures in terms of instrumental music education. instrumental music education.

The same is true for the “hafız-The same is true for the “hafız-

s” (one who recites the Koran) s” (one who recites the Koran) when regarding the vocal when regarding the vocal music education. music education.

At the present, the music notation is the basic educational means At the present, the music notation is the basic educational means

in the modern conservatory education system. However, learning in the modern conservatory education system. However, learning and performing the works only by the notation is unachievable as and performing the works only by the notation is unachievable as a matter of Ottoman-Turkish music. a matter of Ottoman-Turkish music.

Especially teaching stick to the notation cannot even be discussed Especially teaching stick to the notation cannot even be discussed in the voice and instrument performance classes in the in the voice and instrument performance classes in the performance departments, although music notation is the basic performance departments, although music notation is the basic educational means in the modern conservatory education system. educational means in the modern conservatory education system.

Notation has always the role as reminder for the person who Notation has always the role as reminder for the person who teaches and memorizing the work has a priority regarding the teaches and memorizing the work has a priority regarding the education. education.

Furthermore, the elements of style and fashion, such as Furthermore, the elements of style and fashion, such as

ornamenting, nuances etc., which are not notated, are conveyed ornamenting, nuances etc., which are not notated, are conveyed to the student through meşk, in other word, through performing to the student through meşk, in other word, through performing the work lots of time by the teacher after the student memorized the work lots of time by the teacher after the student memorized it. Particularly the main point in singer’s education is striking the it. Particularly the main point in singer’s education is striking the rhythmic pattern while singing the work. rhythmic pattern while singing the work.

Effects of Ottoman Westernization in Music Effects of Ottoman Westernization in Music

Just like in the republican period, the polyphonic studies andJust like in the republican period, the polyphonic studies anddevelopments in terms of western ideology beginning with developments in terms of western ideology beginning with the administrative reforms (tanzimat) could be put on anthe administrative reforms (tanzimat) could be put on anacademic base.academic base.

In 17th and 18th centuries, Mehter, which attracted the interest In 17th and 18th centuries, Mehter, which attracted the interest ofofclassical composers with its quality and expression elements, classical composers with its quality and expression elements, was displaced by military band after the abolishment of was displaced by military band after the abolishment of the the Yeniçeri OcağıYeniçeri OcağıWith founding the military band appropriate to the Western Europe With founding the military band appropriate to the Western Europe counterpart, polyphony was officially embraced by the state, so that a counterpart, polyphony was officially embraced by the state, so that a new and radical transformation period begun for the Turkish music new and radical transformation period begun for the Turkish music culture. (1826). culture. (1826).

Mahmudiye March, which is the first “polyphonic Turkish musical work” Mahmudiye March, which is the first “polyphonic Turkish musical work” and is considered as the “first Turkish national anthem”, was composed in and is considered as the “first Turkish national anthem”, was composed in these years. Muzika-i Humayun (The Band of the Sultan), music school these years. Muzika-i Humayun (The Band of the Sultan), music school covering both the Eastern and Western music was founded (1826-1831).covering both the Eastern and Western music was founded (1826-1831).

Guiseppe Donizetti (1788-1856), brother of Italian composer Gaetano Guiseppe Donizetti (1788-1856), brother of Italian composer Gaetano

DonizettDonizettii

established it as an educational institution where western techniques established it as an educational institution where western techniques were were

applied for the first time in Turkey and also it contined a western type applied for the first time in Turkey and also it contined a western type of militaryof military

band. (1828) band. (1828)

LLaater, a palace orchestra and a fasıl group were added to the ter, a palace orchestra and a fasıl group were added to the institution.institution.

Muzika-i Hümayun became very significant with its native and foreign Muzika-i Hümayun became very significant with its native and foreign teachers. teachers.

The core of the first Turkish Symphony Orchestra was created (1840).The core of the first Turkish Symphony Orchestra was created (1840).

Composing and arranging in “European fashion” and “allaComposing and arranging in “European fashion” and “alla Franga” Franga” became became

widespread. “Printing and publishing sheet music” startedwidespread. “Printing and publishing sheet music” started (1876) (1876) “performing“performing

and composing music based on written documents” became popular. and composing music based on written documents” became popular.

First public formal music school, Darülelhan (literary “the house of First public formal music school, Darülelhan (literary “the house of melodies”) was established and the first sample of music education in melodies”) was established and the first sample of music education in

aareal, modern, systematical and institutional structure appeared in real, modern, systematical and institutional structure appeared in

19171917..

Unfortunately, the attempts lasted very short. The Turkish music Unfortunately, the attempts lasted very short. The Turkish music branch of branch of

Darülelhan was closed by the decision of the National Education Darülelhan was closed by the decision of the National Education Ministry in Ministry in

1925 and its name was changed into conservatory. 1925 and its name was changed into conservatory.

After the 1920’s, formal music education in Turkey began to be given After the 1920’s, formal music education in Turkey began to be given in the in the

institutions named conservatory. Other than this institution, there institutions named conservatory. Other than this institution, there were juswere justt

studies of amateur associations.studies of amateur associations.

THE REPUBLICAN PERIOD

The National Style (Milli Müzik)

In the former instance, the widespread adoption of European political ideals precipitated two attempts at constitutional reform and eventually paved the way for the dramatic events of the 1920's when the Ottoman Empire eventually collapsed and when Turkey itself became a Republic under the leadership of its founder, Mustafa Kemal (later titled, Atatürk, 1881-1938). In the latter instance, European aesthetic preferences (alafranga) competed with (and in some instances replaced) native urban sensibilities (alaturka) in a wide range of cultural practices.

This critical perspective is especially apparent in the writings of Ziya Gokalp (1876-1924) a Turkish sociologist. In particular, Gökalp articulated a contemporary concern for a revolutionary musical change by defining a new or national style (milli musiki) and by reforming deviant practices according to western technical and musicological principles. As a result, his book (The Principles of Turkism / Türkçülüğün Esasları) provoked an acrimonious debate concerning the correct constitution of this national style, polarizing pro-western (alafranga) and pro-eastern (alaturka) into opposing perspectives and legitimizing aesthetic preference according to the nationalist ideals of Kemalizm (after 1931).   

Institutions in the Republican Period

In Istanbul, first Istanbul Municipality Conservatory was established. In thisIn Istanbul, first Istanbul Municipality Conservatory was established. In this context, Tevhîd-i Tedrisat Kanunu (Law of Uniting the education) started to context, Tevhîd-i Tedrisat Kanunu (Law of Uniting the education) started to run. run.

(1924) and Musiki Muallim Mektebi as a principle institution (1924) was(1924) and Musiki Muallim Mektebi as a principle institution (1924) was founded, Darülelhan reopened in 1923 was altered to conservatory (1926), founded, Darülelhan reopened in 1923 was altered to conservatory (1926), Detection and Classification Commission of traditional Turkish art music (1926) Detection and Classification Commission of traditional Turkish art music (1926) and performing group was introduced (1927), radio started to broadcast music and performing group was introduced (1927), radio started to broadcast music (1927), State Conservatory was launched (1936), Music department of Gazi(1927), State Conservatory was launched (1936), Music department of Gazi Training Institute was opened and Musiki Muallim Mektebi was transferred Training Institute was opened and Musiki Muallim Mektebi was transferred there (1937), Military Band Secondary school took the first step in (1938), there (1937), Military Band Secondary school took the first step in (1938), archive of Turkish Folk Music was formed (1938). State Opera (1949) andarchive of Turkish Folk Music was formed (1938). State Opera (1949) and Ballet (1959) was founded, television started to broadcast music (1968). Ballet (1959) was founded, television started to broadcast music (1968). Polyphonic Chorus of Turkish Radio Television Institution (1971), Musicology Polyphonic Chorus of Turkish Radio Television Institution (1971), Musicology Department of Fine Art School (1975), Turkish Music State Conservatory Department of Fine Art School (1975), Turkish Music State Conservatory (1975), State Classical Turkish Music Ensemble (1978), State Turkish Folk (1975), State Classical Turkish Music Ensemble (1978), State Turkish Folk

MusicMusic Ensemble (1987), State Polyphonic Ensemble (1989), Music and Performing Ensemble (1987), State Polyphonic Ensemble (1989), Music and Performing Arts School (1986), Music Department of Anatolian Fine Arts High School Arts School (1986), Music Department of Anatolian Fine Arts High School (1989) were founded and started to operate.(1989) were founded and started to operate.

Paul Hindemith, well known German composer, was invited to AnkaraPaul Hindemith, well known German composer, was invited to Ankarain April 1935 and collaborated with Turkish musician, foremost with in April 1935 and collaborated with Turkish musician, foremost with Necil Kazım Akses for the foundation of State Conservatory. Necil Kazım Akses for the foundation of State Conservatory.

Ottoman-Turkish Makam Music “Alaturka” Education in Republican Period

Along with the Darülelhan, many associations and private music schoolsshowed activity in the teaching and performing Turkish music from thebeginning of the century to the first years of the republican period. The mostimportant ones are Terakk-i Mûsıkî Mektebi (1922), Gülşen-i Mûsıkî Mektebi(1925), DARÜTTALİM-İ MÛSIKÎ (1916, lasted until 1931) DARÜL FEYZ-İMÛSIKÎ, (This school is called later ÜSKÜDAR MÛSIKÎ CEMİYETİ), DAR'ÜLMÛSIKÎ-İ OSMANİ (1908).

In addition to these, “Public Houses” are similarly to be noted. Furthermore,Ankara Mûsıkî Cemiyeti founded by Fehmi Tokay in Ankara, İzmir MûsıkîCemiyeti whose president was Râkım Elkutlu for a long time, İleri Türk MûsıkîKonservatuvarı (Advanced Turkish Music Conservatory) founded by LaikaKarabey in 1948 and (one of its teachers being Hüseyin Sâdeddin Arel) are allthe foundations guiding many of still working artists to be educated.

Since the establishment of the Turkish State Music Conservatory in 1976, Ottoman-Turkish Makam Music didn’t take part at the state conservatory programs and other institutions.

Turkish Music State Conservatory founded in 1976 is the first Turkish music state conservatory and now attached to Istanbul Technical University. Later, Aegean University State Turkish Music Conservatory in 1984 and Gaziantep University State Turkish Music Conservatory in 1988 were established.

Turkish Music State Conservatory was established in 1975 and received its first students in 1976. Ercüment Berker, Muharrem Ergin, Cahit Atasoy, Neriman Tüfekçi, Yücel Paşmakçı, Cüneyt Orhon, Yılmaz Öztuna, İsmail Baha Sürelsan, and Alaattin Yavaşça consisted its first board.

Foundation encouraged research, documentation, performance, and education of Turkish Music which had been abandoned for long time. Another important aim of this generation was to expose substantial values of Turkish Music in the process of creating “new national music”.

Today, there are 18 programs in 4 divisions of instrument training department. The Music Technologies Department has programs of Instrument Making and Sound Recording; The Voice Training Department has Turkish Art Music and Turkish Folk Music Programs. Music Theory, Musicology, Composition, and Turkish Folk Dances Departments continue their training on their own programs.

With the process of the reconstruction of Turkish Music State Conservatory in 2001, a Turkish Music Master Program -which covers academic programs of seven departments- and the very first Musicology and Music Theory PhD Program of Turkey were established. They carry out a collaborate education system in an international level, encouraging visitor researchers and academicians.

Although, students who graduated from Turkish Music Conservatory has started to work as music teachers in these schools after 80’s, the Ottoman – Turkish Makam Music also didn’t take place in primary and secondary school’s music syllabus until 1986. Music syllabus, applied from 1986 by this time, has included makam and usul theory beside the examples of simple makam music pieces from the 6th grade up to the 12th grade.

Since the concept modernity is taken from the West and the modern music education systems from European music, writing, teaching and performing the work by notation has a major role in Ottoman-Turkish education system.

In this context, following questions appear with the founding of especially Turkish music conservatories which established their structures on the modern and contemporary education systems:

Is it possible to make meşk by using music notation? Is it possible to memorize the repertory? Is it practicable to interpret the works in terms of style and fashion?

The answers of these questions are parallel with the fact that the music notation cannot exactly represent the repertory conveyed by the meşk system.

After foundation of the Turkish Music State conservatory, the Arel-Ezgi-Uzdilek system has been used in Ottoman –Turkish Makam Music education. Music notation is a fundamental component of this system. As a result, teaching makam theory and repertory in primary-secondary schools has gone parallel with the Turkish Music State conservatories.

In this point, some difficulties occurred in primary and secondary schools’ music classes on “traditional music”.

First of all, it is not possible to find teachers who have knowledge about “traditional music” all the time. The reason for this is that other music teacher training schools programs, except the Turkish State Conservatories just like Gazi Eğitim Fakültesi, did not contain classes on “makam music”.

The “Lack of time” is another problem. Music classes are made only 40 minutes per week in primary and secondary schools weekly lesson program. Music teachers have to emphasize all music issues, which are listed in the syllabus in that limited time.

And finally, the most important question may be asked on the “priority” in traditional music education: which one comes first? “Theory or practice”?

Could “Orff-Schulwerk” evoke a reassessment of Could “Orff-Schulwerk” evoke a reassessment of “Meşk” in“Meşk” in

gegeneralneral musicmusic education?education?

Orff-Schulwerk, which is a music education approach by Carl Orff, Orff-Schulwerk, which is a music education approach by Carl Orff, has becomehas become

widespread in Turkish music education in recent years. Additionally, widespread in Turkish music education in recent years. Additionally, I’d like to I’d like to

discuss some “educational tools” to be used both “Orff-Schulwerk” discuss some “educational tools” to be used both “Orff-Schulwerk” and “Meşk”.and “Meşk”.

Using speech or the “oral tradition: lyrics”Using speech or the “oral tradition: lyrics”

““Speech” or “lyrics” and their rhythmic value are important during Speech” or “lyrics” and their rhythmic value are important during the learningthe learning

process. process.

Rhythmic component or “Usul”Rhythmic component or “Usul”

The starting point of “Orff-Schulwerk” is the rhythmic “building The starting point of “Orff-Schulwerk” is the rhythmic “building blocks”. The blocks”. The

principle component of the meşk system is to strike the rhythmic principle component of the meşk system is to strike the rhythmic patterns patterns

(usul).(usul).

““Motion and Percussion”Motion and Percussion”

Orff Schulwerk uses poems, rhymes, games, songs, and dances as Orff Schulwerk uses poems, rhymes, games, songs, and dances as examples and basic materials. These may be traditional or original. examples and basic materials. These may be traditional or original. Spoken or sung, they may be accompanied by clapping and stamping Spoken or sung, they may be accompanied by clapping and stamping (body percussion) or by drums, sticks, and bells. In this case, “to (body percussion) or by drums, sticks, and bells. In this case, “to strike the rhythmic patterns using by hands (usul)” can be defined as strike the rhythmic patterns using by hands (usul)” can be defined as a “body percussion” exercise. a “body percussion” exercise.

“Relationship between oral transmission and notation” 

Like many ethno-cultures Orff-Schulwerk privileges oral learning, using various procedures of direct (audio-oral-visual) transmission, imitation and memorization musical materials. Oral technique concerns, furthermore, the way the musical materials and process are conceived and treated: improvisation and composition do not imply the use of notation. Music theory, when explicitly used, is directly functional to music practice.  

If notation is ever used, Orff-Schulwerk doesn’t use only conventional notation, but mostly a variety of preparatory and complementary forms of sound representation/symbolization. Not one notation, then, but many different notations: gestured, verbal, graphic notations.

As I mentioned, we can see the similarities between Orff-Schulwerk and Meşk system. Orff-Schulwerk gives us great opportunities and logical ways to teach “traditional music” in general music education. The vitality of the Schulwerk lies in the possibility to evolve and change over decades, maintaining a constant reference to the anthropological roots of human musicality.  It can promote and disseminate in all educational institutions a concept of music and music education that is anthropologically founded: to guide ethnomusicological research in identification of musical areas that may be interesting for music education; to collaborate in constructing intercultural materials and procedures for a different learning context; to value and disseminate the knowledge of the cultural heritage of a country and in general of all the music of the whole world.

What type of teacher is needed for “traditional music” in general music education?

Finally, we need to describe “our music teacher” who is responsible for “traditional music” training in schools. What are his skills, knowledge and basic characteristics?

It is essential that the teacher has a good musical training and a good knowledge of many different musical genres and styles; it is essential that he has on open musical mind. In the present context, teachers need a wider musical experience than the one usually prescribed bye the euro-centric academic training. If, as ethnomusicology affirms, there is not one music- one universal language- but many music- a plurality of musical languages, systems and cultures- then a fundamental requisite for teaching is to become polyglot and to have a good orientation in a large horizon of world music.

In his role, so to say, of an “active anthropologist” of music teacher should be able to observe the culture of the group, to get in contact with students both at a human and at a musical level, to understand their ideas, perspectives and identities.