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Music of Turkey
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. Âşık, atışma, singing culture, wedding dance continued way of having fun with family and friends as before. Due to industry music and music in daily life aren't same. Turkish people including new generations have nostalgia music culture.
Many Turkish cities and towns have vibrant local music scenes which, in turn, support a number of regional musical styles. Until the 1960s, Turkish music scene was dominated by two genres, Turkish classical music and Turkish folk music with some staple figures like Aşık Veysel, Emel Sayın, Zeki Müren, Şevval Sam, Bülent Ersoy. The 70s came with Anatolian rock and groove music based pop music, iterated by the likes of Cem Karaca and Barış Manço. However, western-style pop music lost popularity to arabesque in the late 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 rock, electronica, hip-hop, rap and dance music in opposition, leaded by the figures such as Şebnem Ferah, Mercan Dede and Ceza, to the mainstream corporate pop and arabesque genres, which many believe have become too commercial.
The 2010s gave rise to indie music groups which were collectively named as "Üçüncü Yeniler" (Third New). With poetic, witty or emotional lyrics, groups' names are deliberately meaningless or employs figure of speech such as in the case of Nükleer Başlıklı Kız (a pun to Turkish translation of the Red Riding Hood). Also, The nostalgia of the 80s and 90s pawed the way for artists like Gaye Su Akyol and Altın Gün to fuze groove vibes into modern music. The 2020s brought in electronic dance music and drill music into mainstream, where they mostly top the charts.
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.
A specific sequence of classical Turkish musical forms becomes a fasıl, a suite consisting of an instrumental prelude (peṣrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations, called taksim. A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl (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 havası. However shorter şarkı 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 Münir Nurettin Selçuk, who was the first to establish a lead singer position. Other performers include Bülent Ersoy, Zeki Müren, Müzeyyen Senar, Zekai Tunca, Arif Sami Toker and Emel Sayın.
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 havası of fasıl 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. Although çengis did. As well as köçeks.
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Music of Turkey
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. Âşık, atışma, singing culture, wedding dance continued way of having fun with family and friends as before. Due to industry music and music in daily life aren't same. Turkish people including new generations have nostalgia music culture.
Many Turkish cities and towns have vibrant local music scenes which, in turn, support a number of regional musical styles. Until the 1960s, Turkish music scene was dominated by two genres, Turkish classical music and Turkish folk music with some staple figures like Aşık Veysel, Emel Sayın, Zeki Müren, Şevval Sam, Bülent Ersoy. The 70s came with Anatolian rock and groove music based pop music, iterated by the likes of Cem Karaca and Barış Manço. However, western-style pop music lost popularity to arabesque in the late 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 rock, electronica, hip-hop, rap and dance music in opposition, leaded by the figures such as Şebnem Ferah, Mercan Dede and Ceza, to the mainstream corporate pop and arabesque genres, which many believe have become too commercial.
The 2010s gave rise to indie music groups which were collectively named as "Üçüncü Yeniler" (Third New). With poetic, witty or emotional lyrics, groups' names are deliberately meaningless or employs figure of speech such as in the case of Nükleer Başlıklı Kız (a pun to Turkish translation of the Red Riding Hood). Also, The nostalgia of the 80s and 90s pawed the way for artists like Gaye Su Akyol and Altın Gün to fuze groove vibes into modern music. The 2020s brought in electronic dance music and drill music into mainstream, where they mostly top the charts.
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.
A specific sequence of classical Turkish musical forms becomes a fasıl, a suite consisting of an instrumental prelude (peṣrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations, called taksim. A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl (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 havası. However shorter şarkı 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 Münir Nurettin Selçuk, who was the first to establish a lead singer position. Other performers include Bülent Ersoy, Zeki Müren, Müzeyyen Senar, Zekai Tunca, Arif Sami Toker and Emel Sayın.
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 havası of fasıl 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. Although çengis did. As well as köçeks.