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Microtonal Guitar Culture in Turkey

Year 2022, Volume: 6 Issue: 1, 1 - 25, 30.06.2022
https://doi.org/10.33906/musicologist.956706

Abstract

The main objective of this article is to analyze the development and the contemporary artistic milieu of microtonal guitar culture in Turkey. With a particular focus on the adjustable microtonal guitar developed by Tolgahan Çoğulu, we examined musicians’ experiences and the ways that they relate to this musical instrument. We used qualitative research methods and conducted in-depth interviews with our key informant and adviser Tolgahan Çoğulu as well as eight musicians who specialize in microtonal guitar. We utilized Bennett and Peterson’s definition of ‘scene’ to discuss microtonal guitar culture in Turkey. After briefly presenting the development of guitar music and questioning the nature of its representation in Istanbul, we analyzed the themes that emerged in conversation with the guitar players. We determined that our interviewees, who are educated, enthusiastic and committed musicians, are all influenced by Tolgahan Çoğulu’s efforts to shape the microtonal guitar world and are driven by their own artistic motivations. We found that musicians shared views on the innovative and promising qualities as well as certain live performance-related difficulties of this instrument –including the need to hammer new frets for different tuning systems on stage and the necessity of sharing microtonal guitar music recordings or videos using new media technologies. Although musical pieces in the microtonal guitar repertoire are mainly rooted in Turkish music, many consider this instrument to be an attempt towards overcoming the generally accepted distinctions between Western and Eastern music. We aim to contribute to further analysis of this flourishing music culture through our discussions on future implications of the current situation and our projections for the growing interest in microtonal music in Turkey. 

Thanks

We wish to express our profound thanks to Prof. Tolgahan Çoğulu for his invaluable contributions in the drafting of this manuscript. We would also like to thank Audrey Wozniak for her invaluable proofreading.

References

  • Alves, Bill; Campbell, Brett and Morris, Mark. (2017). Lou Harrison: American Musical Maverick. Indiana: Indiana University Press.
  • Becker, Howard. (1997). Art worlds. Berkeley: University of California.
  • Bennett, Andy & Peterson, Richard. (Eds.) (2004). Music Scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press.
  • Bourdieu, Pierre. (1984). Distinction: A social Critique of the Judgement of Taste. Cambridge: Harvard University.
  • Çoğulu, Tolgahan. (2010). “Tolgahan Çoğulu (Interviwed by Aji, J.)”. Soundboard, 36 (3): 80-81, 101.
  • Çoğulu, Tolgahan. (2011). The Adaptation of Bağlama Techniques into Classical Guitar Performance. Germany: VDM Publishing.
  • Dawe, Kevin; Eroğlu, Sinan Cem. (2013). “The Guitar in Turkey: Erkan Oğur and the Istanbul Guitarscape”. Ethnomusicology Forum, 22 (1): 49-70.
  • De Nora, Tia. (2004). Music in Everyday Life. Cambridge: Cambridge University Press.
  • Duman, Serkan. (2017). Doğu, Batı Ayrımında: Aslında Mimarlık. Şehircilik ve Mimarlık (At the Crossroads of East and West: The Reality of Architecture, Urbanization and Art). Istanbul: Kaknüs Publications.
  • Merriam, Alan. (1964). The Anthropology of Music. Illinois: Northwestern University Press.
  • Schneider, John. (2015). The Contemporary Guitar. Lanham, Maryland: Rowman & Littlefield.
  • Straw, Will. (1991). “Communities and Scenes in Popular Music.” The Subcultures Reader, Ed. Ken Gelder: 469-478. London: Routledge.
  • Turkish Musician Invents a Guitar for Music of East. (2013, April 12). Hürriyet Daily News. Retrieved from http://www.hurriyetdailynews.com/turkish-musician-invents-a-guitar-for-music-of-east-44716
  • Turley, Alan C. (2001). “Max Weber and The Sociology of Music”. Sociological Forum, 16(4): 633-653.
  • Turnbull, Harvey. (1991). The guitar from the Renaissance to the present day. Connecticut: The Bold Strummer.
  • Ūd. (2010). In Encyclopaedia Britannica Online. Retrieved from https://www.britannica.com/art/ud
  • Tolgahan Çoğulu. (Accessed on 20.03.2021). Retrieved from <http://tolgahancogulu.com/tolgahan-cogulu/>
  • Guthman Musical Instrument Competition. (Accessed on 20.03.2021). Retrieved from <https://guthman.gatech.edu/winners>,
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  • Wade, Graham. (2012). Traditions of the Classical Guitar. London: Oneworld Classics.
  • Weber, Max. (1958). The Rational and Social Foundations of Music. (Don Martindale & Johannes Riedel, Gertrud Neuwirth Eds.). Illinois: Southern Illinois University Press.
  • Westbrook, James. (2012). “General Thompson’s Enharmonic Guitar”. Soundboard, 38(4): 45-52.
Year 2022, Volume: 6 Issue: 1, 1 - 25, 30.06.2022
https://doi.org/10.33906/musicologist.956706

Abstract

References

  • Alves, Bill; Campbell, Brett and Morris, Mark. (2017). Lou Harrison: American Musical Maverick. Indiana: Indiana University Press.
  • Becker, Howard. (1997). Art worlds. Berkeley: University of California.
  • Bennett, Andy & Peterson, Richard. (Eds.) (2004). Music Scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press.
  • Bourdieu, Pierre. (1984). Distinction: A social Critique of the Judgement of Taste. Cambridge: Harvard University.
  • Çoğulu, Tolgahan. (2010). “Tolgahan Çoğulu (Interviwed by Aji, J.)”. Soundboard, 36 (3): 80-81, 101.
  • Çoğulu, Tolgahan. (2011). The Adaptation of Bağlama Techniques into Classical Guitar Performance. Germany: VDM Publishing.
  • Dawe, Kevin; Eroğlu, Sinan Cem. (2013). “The Guitar in Turkey: Erkan Oğur and the Istanbul Guitarscape”. Ethnomusicology Forum, 22 (1): 49-70.
  • De Nora, Tia. (2004). Music in Everyday Life. Cambridge: Cambridge University Press.
  • Duman, Serkan. (2017). Doğu, Batı Ayrımında: Aslında Mimarlık. Şehircilik ve Mimarlık (At the Crossroads of East and West: The Reality of Architecture, Urbanization and Art). Istanbul: Kaknüs Publications.
  • Merriam, Alan. (1964). The Anthropology of Music. Illinois: Northwestern University Press.
  • Schneider, John. (2015). The Contemporary Guitar. Lanham, Maryland: Rowman & Littlefield.
  • Straw, Will. (1991). “Communities and Scenes in Popular Music.” The Subcultures Reader, Ed. Ken Gelder: 469-478. London: Routledge.
  • Turkish Musician Invents a Guitar for Music of East. (2013, April 12). Hürriyet Daily News. Retrieved from http://www.hurriyetdailynews.com/turkish-musician-invents-a-guitar-for-music-of-east-44716
  • Turley, Alan C. (2001). “Max Weber and The Sociology of Music”. Sociological Forum, 16(4): 633-653.
  • Turnbull, Harvey. (1991). The guitar from the Renaissance to the present day. Connecticut: The Bold Strummer.
  • Ūd. (2010). In Encyclopaedia Britannica Online. Retrieved from https://www.britannica.com/art/ud
  • Tolgahan Çoğulu. (Accessed on 20.03.2021). Retrieved from <http://tolgahancogulu.com/tolgahan-cogulu/>
  • Guthman Musical Instrument Competition. (Accessed on 20.03.2021). Retrieved from <https://guthman.gatech.edu/winners>,
  • Wade, Graham. (2001). A Concise History of the Classical Guitar. USA: Mel Bay Publications.
  • Wade, Graham. (2012). Traditions of the Classical Guitar. London: Oneworld Classics.
  • Weber, Max. (1958). The Rational and Social Foundations of Music. (Don Martindale & Johannes Riedel, Gertrud Neuwirth Eds.). Illinois: Southern Illinois University Press.
  • Westbrook, James. (2012). “General Thompson’s Enharmonic Guitar”. Soundboard, 38(4): 45-52.
There are 22 citations in total.

Details

Primary Language English
Subjects Music
Journal Section Articles
Authors

Ozan Eren 0000-0001-8036-9737

Uğur Zeynep Güven 0000-0002-6948-2277

Publication Date June 30, 2022
Published in Issue Year 2022 Volume: 6 Issue: 1

Cite

APA Eren, O., & Güven, U. Z. (2022). Microtonal Guitar Culture in Turkey. Musicologist, 6(1), 1-25. https://doi.org/10.33906/musicologist.956706