AN ANALYSES OF TRADITIONAL AND CONTEMPORARY TURKISH MUSIC ELEMENTS IN FAZIL SAY’S “ISTANBUL SYMPHONY”

45519

In 1923, after the proclamation of the republic, as a result of the westernization policy Atatürk brought to the music culture, national movements had begun to emerge in Turkish music. In Turkey, first generation composers were Cemal Reşit Rey, Hasan Ferit Alnar, Ulvi Cemal Erkin, Ahmed Adnan Saygun and Necil Kâzım Akses. Among these composers, Ferit Alnar formed East and West music syntheses not only in music forms and modal structure but also including Turkish musical instruments to the symphonic orchestra. After the Qanun concerto composed by F. Alnar in 1946 and performed in 1951, in contemporary Turkish music, works that are written for Turkish musical instruments started to emerge only after the 1980s. In this way, after a period of 40 years Münir Nurettin Beken’s “Ud concerto” (1987–1990), “Dino ile Ceren” (suitable for orchestra and Turkish instruments), “Gerdaniye Türkü” (orchestra and Turkish instruments), Oğuzhan Balcı’s “Kemancha concerto for solo instruments” (for kemancha and string), Fazıl Say’s “İstanbul symphony” comprised of 7 movements (6 February 2008), “Ney concerto” (2012) are emerged. Among these pieces, F. Say’s “İstanbul symphony” is one of the most conspicuous one in both its being modal and structural. In this study, general and modal analyses of Fazıl Say’s “İstanbul symphony” that reveals East and West syntheses in Turkish music not only modal but also with traditional instruments are made, and composer’s perspective to traditional and contemporary Turkish music is examined.

2046

Turkish Music instrument’s , İstanbul Senfonisi , East and West

Abant İzzet Baysal Üniversitesi Eğitim Fakültesi Dergisi

2057

Abant İzzet Baysal Üniversitesi Eğitim Fakültesi Dergisi