Turkey's Classical Music, a Class Symbol

Signell, Karl

doi:10.2307/833803

Cited by 4 publications

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“…A period in which, incidentally, the Ottoman art repertoire was heavily debated as, more generally, was the Ottoman heritage. On this see Signell, 1980;Feldman, 1990Feldman, -1991Tekelioğlu, 1996;Stokes, 2010;Erol, 2012;O'Connell, 2013).…”

Section: şArkıyyat Ve Türkmaniyyât Ve Gayrihî Containing Examples Of Texts Written In Hece Veznimentioning

confidence: 99%

The Late Ottoman Şarkı and the Interweaving of Registers: Towards an Ideology of Song

Nardella

2020

Musicologist

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This paper investigates the şarkı song form, composed in the late nineteenth century, discussed with regards to the linguistic registers that characterised the use of Turkish in the same period1. It considers the production and circulation of this popular vocal repertoire in relation to reforms in language education and an intense, public conversation about the place of Turkish in a society on the verge of a controversial modernity. My aim has been to suggest new ways of thinking about the role of song in supporting or subverting -and occasionally, both -language practice and efforts at standardisation, as well as considering it in the more general framework of language debate. The material chosen is a small group of songs appeared in the newspaper Ma'lûmât in December 1895. By particularly focusing on the way that various registers interweave in the texts, I have suggested that we look at this repertoire as a reflection of wider linguistic/cultural tensions. While Ottomanperiod Turkish has often been regarded as an unreadable, impenetrable language belonging to the elites, the case of the şarkı and its urban, newspaper reading public suggests that we should begin looking at it as a language spectrum encapsulating a multitude of registers, chosen according to the intended meaning and occasion. I propose to consider song in its capacity to maintain affections and authority, as well as providing a tool for self-mapping in history and tradition. In the late Ottoman scenario, this translates into reconsidering notions of cultural and social schisms in favour of a fluidity in both language and music practice, that is manifest in the şarkı text.

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Section: şArkıyyat Ve Türkmaniyyât Ve Gayrihî Containing Examples Of Texts Written In Hece Veznimentioning

confidence: 99%

The Late Ottoman Şarkı and the Interweaving of Registers: Towards an Ideology of Song

Nardella

2020

Musicologist

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Melodies of resistance: Islamist music in secular Turkey

Taş

2014

Social Compass

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Since the mid-1980s, music has become a site of resistance and political mobilization for Turkish Islamists. Based on interviews with prominent Islamist musicians and analyses of a cross-section of their albums, this paper examines the development of Islamist music in secular Turkey. In order to elaborate upon the power struggle between the secular state and Islamist groups in the realm of music, it first focuses on how the founding elite of Turkey treated music as part of its secular nation-formation project. It then locates Islamist music as a form of protest music and analyses its development through the 1980s and 1990s, in concert with the growing visibility of political Islam in other arenas. Thereafter, the paper demonstrates how Turkey’s fourth military intervention in 1997 led to the decline of Islamist music. The final section is devoted to a discussion of the strategies of survival employed by Islamist musicians in response to government repression.

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Cycles and Peripheries: An Ottoman Kitâb el Edvâr

Ertan¹

2007

amu

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Turkey's Classical Music, a Class Symbol

Cited by 4 publications

References 0 publications

The Late Ottoman Şarkı and the Interweaving of Registers: Towards an Ideology of Song

The Late Ottoman Şarkı and the Interweaving of Registers: Towards an Ideology of Song

Melodies of resistance: Islamist music in secular Turkey

Cycles and Peripheries: An Ottoman Kitâb el Edvâr

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