Of course receiving such a report supported Atatürk’s instructions to
implement Turkish music directed in western style and to direct the efforts to
contemporary art. However it was not easy to make the people to love the opera,
as they could not be able to approve of the polyphony which was strange to their
ears. Western people also did not get used to the opera easily. Therefore the
foreign specialist had emphasized this.
Inspite of this, the suggested steps and advice in the report could not be
carried out except for some individual experiments.
This of course has some reasons. In my opinion, the arrangements were not
made according to Atatürk’s instructions. Even today Turkish music and western
music arguments are continuing. Before the operas, which are a matured and
developed kind of the theatre, it has been advised to try the operettas,
experiments have also been made, successful experiments. It has also been
proposed to start with Hungarian music that could be preferred by Turkish people
by furnishing them with the domestic figures, decorations, dressings, etc.
The advice to prefer Hungarian music can be approved of as a historical
reality however it is possible to benefit from the rich and convenient sources
of Turkish folk music. It is also possible to benefit from the events the music
The separating of cultural styles and the melodies in the same geographical
district (especially in Balkan countries) cause the same music to occurre.
The efficiency of the Turkish music conveyed by the Turkish raiders in the
past has clearly been observed in the music of that district.
But the Hungarian and the other Balkan’s have implemented their music and
given the polyphone variety to them.
By the way, to point out a remarkable point in this respect. There was a
passage such as follows:
“The Turkish music taste could be repressed by the hypnotic influence of
Arabic and Byzantine music...” in the report.
This approach is an defective point of view proposed by persons who did not
know Turkish music.
I know that the person who prepared this report had investigated and knew
Turkish music in it’s own right is a valued expert and a friend of the Turks.
Unfortunately, it is not only the foreign experts, some Turkish experts abused
Turkish music in that way.
A valued friend of the Turks, Mr. Ojen Borrel, who had investigated the depth
of Turkish music and has written many things in this respect, says just the same
as follows in one of his letters.
“The thesis concerning the influence of Byzantine on Turkish music is
completely wrong. How could it be possible for the victorious to adopt the
Byzantine music despite they hate them. Owing to bloody wars held between
religions, Byzantine church song could not have any influence.”
Another mistake, namely, regarding Turkish music as a branch of Persian and
Arabic music, could not hold to investigation in this respect.
Iran (Persia), Arabic and Anatolia are not the same in respect of makams,
styles. The comparison scales of “makams” and “singing” can be useful to show
the differences. Investigations on music of Uzbek, Tartar, Turkmen are also
useful to understand the real sources of Turkish music.
Foreigners confuse the Indian, Persian, Arabian, Armenian music to the each
other. They are no different than the the Italian and French schools.
Mr. Mahmut Ragıp Gazimihal had written in his book “The Music Activity in the
Balkans” as follows:
“The favouret musician of his age, Sadi Uyan, the master of Abdülkadir Menagi
who has been supposed to be the father of the Turkish music...
There has not been any influence on Turkish musicians by Arabic musicians...”
A new epoch was marked from the late years of XVIII. Century
Itri was one of the greatest of this new epoch.
Petro Campadariyo’s attempt to adopt the chant to Turkish Music was in this
new epoch. The masters of old chant that is simplified and diatonic had admired
the magnificence of the victors’ (Turkish) music. They were surprised when they
red the theoretical essentials and books, because they found the names of the
Greek adjudicators’ name as (Nete, Paripat, Ficinen, Doriyan) and the Greek
music idioms in these books.
They had learned the old Greek music rules, and many newly adopted formulas
from the Turkish music masters. They forgot ear to ear tradition of the old
religious epoch due to the Turkish melodies by adopting the new Turkish music...
These are the historical reasons of the similarities between historical
Turkish music and Fener chant.
Many of historical realities can be listed in this subject.Thus the
unfoundedness of abusing Turkish music as a hybrid of Arabic, Iranian and
Byzantine has been exposed.