Research Article
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Year 2023, Volume: 7 Issue: 1, 49 - 77, 30.06.2023
https://doi.org/10.33906/musicologist.1185086

Abstract

References

  • Adorno, Theodor. (2006). Philosophy of New Music (Hullot-Kentor, Robert, Trans.). Minneapolis: University of Minnesota Press. [Original work published 1949]
  • Albertson, Dan; Hannah, Ron. (03.01.2017). Ahmet Yürür. Retrieved from http://www.composers21.com/compdocs/yurura.htm
  • Ali, Filiz. (1989, December 13). Çağdaş İnsan Kimden Yana: Ankara Büyükşehir Belediyesi'nce Düzenlenen 1. Yeni müzik Festivali (Contemporary Man Sides with Whom: 1st New Music Festival Organized by Ankara Metropolitan Municipality.). Cumhuriyet, p.5.
  • Ali, Filiz. (2002). Elektronik Müziğin Öncüsü Bülent Arel (Bulent Arel, Pioneer of Electronic Music). Istanbul: Türkiye İş Bankası Cultural Publications.
  • And, Metin. (1984). “Ataturk and the Arts, with Special Reference to Music and Theater” Atatürk and the modernization of Turkey, Ed. Jacob M. Landau: pp.215-231. Boulder, Colo.: Westview Press.
  • Andante. (2014). “Kamran İnce” Andante. December(Special Issue: MIAM'ın 15.Yılı): 9-11. Retrieved from https://www.andante.com.tr/files/ozelsayi/miamin15yili/html5/index.html?page=1&noflash
  • Ayas, Güneş. (2014). Mûsiki İnkılâbı’nın Sosyolojisi Klasik Türk Müziği Geleneğinde Süreklilik ve Değişim (Sociology of Turkish Music Reform: Continuity and Change in the Tradition of the Classical Turkish Music). Istanbul: Doğu Kitabevi Publications.
  • Ayday, Nur. (2008). “Türkiye’nin Üç Büyük Şehrindeki TC Kültür Bakanlığı Senfoni Orkestraları Tarafından En Çok Seslendirilen Türk Eserleri (Most Commonly Performed Turkish Compositions by Orchestras of Turkish Ministry of Culture in Three Largest Cities of Turkey)” Master’s thesis, Anadolu University, Eskişehir: Turkey.
  • Balkılıç, Özgür. (2009). Cumhuriyet Halk ve Müzik: Türkiye’de Müzik Reformu 1922-1952 (Republic, Community and Music: Music Reform in Turkey 1922-1952). Ankara/Turkey: Tan Kitabevi Publications.
  • Bayley, Amanda; Lind, Tore; Nooshin, Laudan; Pace, Ian and Spitzer, Michael. (2016). Are We All Ethnomusicologists Now? [Public debate at City University of London on June 1, 2016]. Retrieved from https://www.youtube.com/watch?v=Az75bk4OV6E&ab_channel=MusicatCity%2CUniversityofLondon
  • Becker, S. Howard. (2008). Art worlds. 25th anniversary edition (2nd ed). Berkeley, CA: University of California Press. [Original work published 1982]
  • Bekker, Paul. (1923). “Neue Musik” Neue Musik: Dritter Band der gesammelten Schriften, pp.85-119. Stuttgart and Berlin: Deutsche Verlags-Anstalt.
  • Berkman, Esra; Tonella, Lilian. (2021). New Music for Kanun & Piano [Digital Audio]. Turkey: Turkofon Records.
  • Bennett, Andy; Peterson, Richard. (Eds.) (2004). Music Scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press.
  • Born, Georgina. (1995). Rationalizing Culture IRCAM, Boulez and the Institutionalization of the Musical Avant-garde. Berkeley and Los Angeles, CA: University of California Press.
  • Clarke, David. (2018). “Introduction: Thinking Together. Defining Twentieth- and Twenty-First-Century Music Forum” Twentieth-Century Music. 14(3): 411 – 462.
  • Collins, Sarah. (2019). “What was Contemporary? The new, the modern and the contemporary in ISCM” Routledge Research Companion to Modernism in Music, Eds. Björn Heile and Charles Wilson: pp.56-86. Abingdon and New York: Routledge.
  • Cook, Nicholas. (2008). “We Are All (Ethno)musicologists Now” The New (Ethno)musicologies, Ed. Henry Stobart: pp. 48-70. Lanham, MD: Scarecrow Press.
  • Değirmenci, Koray. (2006). “On the Pursuit of a Nation: The Construction of Folk and Folk Music in the Founding Decades of the Turkish Republic” International Review of the Aesthetics and Sociology of Music. 37(1): 47-65.
  • Dedrick, Blair. (2004). “A Different Beat” The University of Memphis Magazine. Retrieved from https://web.archive.org/web/20160224184239/http://www.memphis.edu/magazinearchive/v22i2/feat3.html
  • Demirakın, I. Nahide; Demirakın, N. Işıl. (2019). “Bülent Arel’in Ankara Yılları (1940-1965): Müzik, Radyo ve Siyaset (The Ankara Years of Bülent Arel (1940-1965): Music, Radio and Politics)” Journal of Ankara Studies. 7(2): 321-342.
  • Demirel, Evrim. (2015). “Çağdaş Türk Bestecilerinde Postmodern Bir Eğilim Olarak Yeniden Yerellik (New Locality as a Postmodern Tendency among Contemporary Turkish Compser)” E-Journal of New World Sciences Academy. 10 (2): 84-99.
  • Erdoğan, Ahsen. (1999, August 30). Genç sanatçılar tanıtılıyor (Young artists promoted). Cumhuriyet, p.15.
  • Erol, Ayhan. (2012). “Music, power and symbolic violence: The Turkish state’s music policies during the early republican period” European Journal of Cultural Studies. 15(1): 35– 52.
  • Greve, Martin. (2017). Makamsız: Individualization of Traditional Music on the Eve of Kemalist Turkey. Istanbul: Würzburg: Ergon Verlag.
  • Gökalp, Ziya. (1923). Türkçülüğün Esasları (Principles of Turkism). Istanbul: Varlık Yayınevi Publications.
  • Güray, Cenk. (2016). “Cumhuriyetin İlk Yıllarından Günümüze Hükümet Programlarında Müzik: Eleştirel Bir Bakış” (Music in Government Programs from the Early Years of the Republic to the Present: A Critical Perspective. İllüzyon: Cumhuriyet’in Klasik Müzik Serüveni (Illusion: Classical Music Adventure of the Republic), Ed. Fırat Kutluk: pp. 231-256. Istanbul: H2O Kitap Publications.
  • Heile, Björn. (2009). “Introduction: new music and the Modernist legacy” The Modernist Legacy: Essays on New Music, Ed. Björn Heile: pp.1-10. Farnham: Ashgate Publishing.
  • Hezarfen Ensemble. (2015). Of Light and Shadows [Digital Audio]. Turkey: Çağsav Music Label
  • Hezarfen Ensemble Mission. (n.d.). Retrieved from https://www.hezarfenensemble.com/mission
  • İlyasoğlu, Evin. (1993a, January 6). Artık 'yarın'ın müziği yapılıyor (Now the music of 'tomorrow' is being made). Cumhuriyet, p. 11.
  • İlyasoğlu, Evin. (1993b, April 21). Müzik özgürce dinleniyor (Music listen freely). Cumhuriyet, p. 13.
  • İnce Erdoğan, Dilşen; Çetin, Esra. (2020). “Demokrat Parti’nin Muhalefet Yıllarında Türkiye Büyük Millet Meclisi’nde Yapılan Müzik Tartışmaları (1945-1950) (Music debates at the Turkish Grand National Assembly during the years of Democratic Party opposition” Journal of Turkish Researches Institute. 67: 615-635.
  • Süreyya Opera House National Composition Contest. (2018). [Specification]. Istanbul. Kadıköy Municipality. Retrieved from http://www.sureyyabesteyarismasi.kadikoy.bel.tr/?fbclid=IwAR0iAY9LJhKzlJ84PV5JMKJVNeD4E3_EyoWAzqMNI2zM4md-PcMgpUnLMnU
  • Karahasanoğlu, Songül; Skoog, Gabriel. (2009). “Synthesizing Identity: Gestures of Filiation and Affiliation in Turkish Popular Music” Asian Music. 40(2): 52-71.
  • Koçoğlu, Sevilay. (2004, November 22). Çağdaş müzik masaya yatırılıyor (Contemporary music is on the table). Cumhuriyet, p. 14.
  • Köksal, Aykut. (2015). “Elliler Modernizmi ve İlhan Usmanbaş (Fifties Modernism and İlhan Usmanbaş)” Perpetuum Mobile: İlhan Usmanbaş’ın Yapıtı (Perpetuum Mobile: The Work of İlhan Usmanbaş), Eds. Aykut Köksal; Mehmet Nemutlu and Kıvılcım.Y. Şenürkmez: pp.13-31. Istanbul/Turkey: Pan Yayıncılık Publications.
  • Markoff, Irene. (1991). “The Ideology of Musical Practice and the Professional Turkish Folk Musician: Tempering the Creative Impulse” Asian Music. 22(1): 129-145.
  • Manav, Özkan. (2015). “Yeniyle Yüzleşmenin Çoğul Serüveni (The Plural Adventure of Confronting the New)” Perpetuum Mobile: İlhan Usmanbaş’ın Yapıtı (Perpetuum Mobile: The Work of İlhan Usmanbaş), Eds. Aykut Köksal; Mehmet Nemutlu and Kıvılcım.Y. Şenürkmez: pp.51-63. Istanbul: Pan Yayıncılık Publications.
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  • NK Ensemble. (2019). Lahza [Digital Audio]. Turkey: Bilgi Music Label
  • Nooshin, Laudan. (2011). “Introduction to the Special Issue: The Ethnomusicology of Western Art Music” Ethnomusicology Forum. 20(3): 285-300.
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The Yeni Müzik Scene in Türkiye: How did the ‘New Music’ Discourse Change Local Contemporary Music Practice?

Year 2023, Volume: 7 Issue: 1, 49 - 77, 30.06.2023
https://doi.org/10.33906/musicologist.1185086

Abstract

Although the field of contemporary music composition in Türkiye is mainly considered an institutionalization grounded on the nation-state ideology and the cultural policies of the early republic period, the political, economic, and cultural changes experienced in the last 30 years have led to the formation of alternative discourses and new institutionalizations in the field. Among these new formations, the 'yeni müzik' discourse - which can be considered as the local manifestation of the 'new music' discourse that originates in the 20th-century art music canon and the new composition scene shaped around it have marked significant differences in the local contemporary music practice. By providing a critical overview of the local history of the field, examining the early emergence of ‘yeni müzik’, and documenting the post-2000s development of this new compositional institutionalization, the present paper proposes ‘yeni müzik scene’ as an alternative formation and discusses how it differs from its predecessor 'Turkish Contemporary Music' in terms of institutional, social and musical practices. Our account of the topic – which has hardly been studied in the literature – benefits from both historiographical and fieldwork practices, hoping to provide a continuous socio-cultural narrative that situates the ‘yeni müzik scene’ within the local history of contemporary music.

References

  • Adorno, Theodor. (2006). Philosophy of New Music (Hullot-Kentor, Robert, Trans.). Minneapolis: University of Minnesota Press. [Original work published 1949]
  • Albertson, Dan; Hannah, Ron. (03.01.2017). Ahmet Yürür. Retrieved from http://www.composers21.com/compdocs/yurura.htm
  • Ali, Filiz. (1989, December 13). Çağdaş İnsan Kimden Yana: Ankara Büyükşehir Belediyesi'nce Düzenlenen 1. Yeni müzik Festivali (Contemporary Man Sides with Whom: 1st New Music Festival Organized by Ankara Metropolitan Municipality.). Cumhuriyet, p.5.
  • Ali, Filiz. (2002). Elektronik Müziğin Öncüsü Bülent Arel (Bulent Arel, Pioneer of Electronic Music). Istanbul: Türkiye İş Bankası Cultural Publications.
  • And, Metin. (1984). “Ataturk and the Arts, with Special Reference to Music and Theater” Atatürk and the modernization of Turkey, Ed. Jacob M. Landau: pp.215-231. Boulder, Colo.: Westview Press.
  • Andante. (2014). “Kamran İnce” Andante. December(Special Issue: MIAM'ın 15.Yılı): 9-11. Retrieved from https://www.andante.com.tr/files/ozelsayi/miamin15yili/html5/index.html?page=1&noflash
  • Ayas, Güneş. (2014). Mûsiki İnkılâbı’nın Sosyolojisi Klasik Türk Müziği Geleneğinde Süreklilik ve Değişim (Sociology of Turkish Music Reform: Continuity and Change in the Tradition of the Classical Turkish Music). Istanbul: Doğu Kitabevi Publications.
  • Ayday, Nur. (2008). “Türkiye’nin Üç Büyük Şehrindeki TC Kültür Bakanlığı Senfoni Orkestraları Tarafından En Çok Seslendirilen Türk Eserleri (Most Commonly Performed Turkish Compositions by Orchestras of Turkish Ministry of Culture in Three Largest Cities of Turkey)” Master’s thesis, Anadolu University, Eskişehir: Turkey.
  • Balkılıç, Özgür. (2009). Cumhuriyet Halk ve Müzik: Türkiye’de Müzik Reformu 1922-1952 (Republic, Community and Music: Music Reform in Turkey 1922-1952). Ankara/Turkey: Tan Kitabevi Publications.
  • Bayley, Amanda; Lind, Tore; Nooshin, Laudan; Pace, Ian and Spitzer, Michael. (2016). Are We All Ethnomusicologists Now? [Public debate at City University of London on June 1, 2016]. Retrieved from https://www.youtube.com/watch?v=Az75bk4OV6E&ab_channel=MusicatCity%2CUniversityofLondon
  • Becker, S. Howard. (2008). Art worlds. 25th anniversary edition (2nd ed). Berkeley, CA: University of California Press. [Original work published 1982]
  • Bekker, Paul. (1923). “Neue Musik” Neue Musik: Dritter Band der gesammelten Schriften, pp.85-119. Stuttgart and Berlin: Deutsche Verlags-Anstalt.
  • Berkman, Esra; Tonella, Lilian. (2021). New Music for Kanun & Piano [Digital Audio]. Turkey: Turkofon Records.
  • Bennett, Andy; Peterson, Richard. (Eds.) (2004). Music Scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press.
  • Born, Georgina. (1995). Rationalizing Culture IRCAM, Boulez and the Institutionalization of the Musical Avant-garde. Berkeley and Los Angeles, CA: University of California Press.
  • Clarke, David. (2018). “Introduction: Thinking Together. Defining Twentieth- and Twenty-First-Century Music Forum” Twentieth-Century Music. 14(3): 411 – 462.
  • Collins, Sarah. (2019). “What was Contemporary? The new, the modern and the contemporary in ISCM” Routledge Research Companion to Modernism in Music, Eds. Björn Heile and Charles Wilson: pp.56-86. Abingdon and New York: Routledge.
  • Cook, Nicholas. (2008). “We Are All (Ethno)musicologists Now” The New (Ethno)musicologies, Ed. Henry Stobart: pp. 48-70. Lanham, MD: Scarecrow Press.
  • Değirmenci, Koray. (2006). “On the Pursuit of a Nation: The Construction of Folk and Folk Music in the Founding Decades of the Turkish Republic” International Review of the Aesthetics and Sociology of Music. 37(1): 47-65.
  • Dedrick, Blair. (2004). “A Different Beat” The University of Memphis Magazine. Retrieved from https://web.archive.org/web/20160224184239/http://www.memphis.edu/magazinearchive/v22i2/feat3.html
  • Demirakın, I. Nahide; Demirakın, N. Işıl. (2019). “Bülent Arel’in Ankara Yılları (1940-1965): Müzik, Radyo ve Siyaset (The Ankara Years of Bülent Arel (1940-1965): Music, Radio and Politics)” Journal of Ankara Studies. 7(2): 321-342.
  • Demirel, Evrim. (2015). “Çağdaş Türk Bestecilerinde Postmodern Bir Eğilim Olarak Yeniden Yerellik (New Locality as a Postmodern Tendency among Contemporary Turkish Compser)” E-Journal of New World Sciences Academy. 10 (2): 84-99.
  • Erdoğan, Ahsen. (1999, August 30). Genç sanatçılar tanıtılıyor (Young artists promoted). Cumhuriyet, p.15.
  • Erol, Ayhan. (2012). “Music, power and symbolic violence: The Turkish state’s music policies during the early republican period” European Journal of Cultural Studies. 15(1): 35– 52.
  • Greve, Martin. (2017). Makamsız: Individualization of Traditional Music on the Eve of Kemalist Turkey. Istanbul: Würzburg: Ergon Verlag.
  • Gökalp, Ziya. (1923). Türkçülüğün Esasları (Principles of Turkism). Istanbul: Varlık Yayınevi Publications.
  • Güray, Cenk. (2016). “Cumhuriyetin İlk Yıllarından Günümüze Hükümet Programlarında Müzik: Eleştirel Bir Bakış” (Music in Government Programs from the Early Years of the Republic to the Present: A Critical Perspective. İllüzyon: Cumhuriyet’in Klasik Müzik Serüveni (Illusion: Classical Music Adventure of the Republic), Ed. Fırat Kutluk: pp. 231-256. Istanbul: H2O Kitap Publications.
  • Heile, Björn. (2009). “Introduction: new music and the Modernist legacy” The Modernist Legacy: Essays on New Music, Ed. Björn Heile: pp.1-10. Farnham: Ashgate Publishing.
  • Hezarfen Ensemble. (2015). Of Light and Shadows [Digital Audio]. Turkey: Çağsav Music Label
  • Hezarfen Ensemble Mission. (n.d.). Retrieved from https://www.hezarfenensemble.com/mission
  • İlyasoğlu, Evin. (1993a, January 6). Artık 'yarın'ın müziği yapılıyor (Now the music of 'tomorrow' is being made). Cumhuriyet, p. 11.
  • İlyasoğlu, Evin. (1993b, April 21). Müzik özgürce dinleniyor (Music listen freely). Cumhuriyet, p. 13.
  • İnce Erdoğan, Dilşen; Çetin, Esra. (2020). “Demokrat Parti’nin Muhalefet Yıllarında Türkiye Büyük Millet Meclisi’nde Yapılan Müzik Tartışmaları (1945-1950) (Music debates at the Turkish Grand National Assembly during the years of Democratic Party opposition” Journal of Turkish Researches Institute. 67: 615-635.
  • Süreyya Opera House National Composition Contest. (2018). [Specification]. Istanbul. Kadıköy Municipality. Retrieved from http://www.sureyyabesteyarismasi.kadikoy.bel.tr/?fbclid=IwAR0iAY9LJhKzlJ84PV5JMKJVNeD4E3_EyoWAzqMNI2zM4md-PcMgpUnLMnU
  • Karahasanoğlu, Songül; Skoog, Gabriel. (2009). “Synthesizing Identity: Gestures of Filiation and Affiliation in Turkish Popular Music” Asian Music. 40(2): 52-71.
  • Koçoğlu, Sevilay. (2004, November 22). Çağdaş müzik masaya yatırılıyor (Contemporary music is on the table). Cumhuriyet, p. 14.
  • Köksal, Aykut. (2015). “Elliler Modernizmi ve İlhan Usmanbaş (Fifties Modernism and İlhan Usmanbaş)” Perpetuum Mobile: İlhan Usmanbaş’ın Yapıtı (Perpetuum Mobile: The Work of İlhan Usmanbaş), Eds. Aykut Köksal; Mehmet Nemutlu and Kıvılcım.Y. Şenürkmez: pp.13-31. Istanbul/Turkey: Pan Yayıncılık Publications.
  • Markoff, Irene. (1991). “The Ideology of Musical Practice and the Professional Turkish Folk Musician: Tempering the Creative Impulse” Asian Music. 22(1): 129-145.
  • Manav, Özkan. (2015). “Yeniyle Yüzleşmenin Çoğul Serüveni (The Plural Adventure of Confronting the New)” Perpetuum Mobile: İlhan Usmanbaş’ın Yapıtı (Perpetuum Mobile: The Work of İlhan Usmanbaş), Eds. Aykut Köksal; Mehmet Nemutlu and Kıvılcım.Y. Şenürkmez: pp.51-63. Istanbul: Pan Yayıncılık Publications.
  • MIAM History (n.d.). Retrieved from https://www.miam.itu.edu.tr/en/history/
  • NK Ensemble. (2019). Lahza [Digital Audio]. Turkey: Bilgi Music Label
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There are 69 citations in total.

Details

Primary Language English
Subjects Music
Journal Section Articles
Authors

Dilara Turan 0000-0001-5768-0818

Belma Oğul 0000-0002-5042-6953

Publication Date June 30, 2023
Published in Issue Year 2023 Volume: 7 Issue: 1

Cite

APA Turan, D., & Oğul, B. (2023). The Yeni Müzik Scene in Türkiye: How did the ‘New Music’ Discourse Change Local Contemporary Music Practice?. Musicologist, 7(1), 49-77. https://doi.org/10.33906/musicologist.1185086