A Collective Biography Study of Musicians: Patterns, Networks and Music As a “Profession” in the Late Ottoman Era and the Early Republican Years in Istanbul
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A COLLECTIVE BIOGRAPHY STUDY OF MUSICIANS: PATTERNS, NETWORKS AND MUSIC AS A “PROFESSION” IN THE LATE OTTOMAN ERA AND THE EARLY REPUBLICAN YEARS IN ISTANBUL A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF HUMANITIES AND SOCIAL SCIENCES OF İSTANBUL ŞEHİR UNIVERSITY BY ONUR ÖNER IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY JANUARY 2019 ABSTRACT A COLLECTIVE BIOGRAPHY STUDY OF MUSICIANS: PATTERNS, NETWORKS AND MUSIC AS A “PROFESSION” IN THE LATE OTTOMAN ERA AND THE EARLY REPUBLICAN YEARS IN ISTANBUL Öner, Onur. PhD in History Thesis Advisor: Prof. L. Cem Behar January 2019, 288 pages This dissertation focuses on the musicians of Istanbul who experienced the transitional period from the late Ottoman to the Early Republican years in Turkey. By focusing on their career trajectories, the thesis seeks to understand the ways in which musicians responded to broader socio-political changes. The thesis offers a wide range of quantitative analyses that were generated in IBM SPSS Statistics 23.0 (Statistical Package for Social Sciences). The thesis explores the geographical origins, birth dates, family backgrounds, education patterns, language proficiency, occupational distribution with a view to bring the common as well as the distinct features of musicians under investigation to light. The study gives emphasis to the musicians’ mobility in Istanbul in order to enhance the geographical understanding of music. The frequency analysis enabled this study to identify the most frequented neighborhoods by musicians as well as the musical interactions among the neighborhoods. Gephi, which is software to visualize social connections, was used to show the most musically connected neighborhoods to understand how the urban music was generated at the local level. By addressing the issue of music education, the thesis aimed to show that musicians were not monolithic but diverse and reflected different values about music. Many modes of learning music lead to the formation of different musical identities. For iv the majority of musicians, it was perceived as part of the urban culture, and thereby they built a non-professional (non-profit) relationship with it. The dissertation pays particular attention to the emergence of music schools after 1909 and the radio broadcasts in 1927 to uncover the interactions between state policies and music. The study perceives the role of these two institutions as a turning point in music in terms of the transition from plurality in music-tradition to cultural uniformity, the emergence of music as a “profession”, the re-organization of musicians’ social status, and the remaking of women in music. Keywords: Ottoman, Istanbul, musician, social history v ÖZ GEÇ OSMANLI VE ERKEN CUMHURİYET DÖNEMLERİNDE İSTANBULLU MÜZİSYENLERİN SOSYAL PROFİL ANALİZİ: SOSYAL AĞLAR VE BİR “MESLEK” OLARAK MÜZİK Öner, Onur. Tarih Doktora Programı Tez Danışmanı: Prof. L. Cem Behar Ocak 2019, 288 sayfa Bu tez Geç Dönem Osmanlı Devleti’nden Erken Cumhuriyet’e uzanan bir zaman diliminde İstanbul’da yaşamış olan bir grup müzisyeni konu edinmiştir. Müzisyenlerin tanığı oldukları sosyo-politik ve kültürel değişimlere verdikleri tepkileri analiz etmek tezin öncelikli meselelerinden birisidir. Tez odağına aldığı 257 müzisyenin sosyal profillerini ortaya çıkarmak için SPSS veri analiz yazılımı üzerinden çok sayıda niceliksel analize başvurmaktadır. Müzisyenlerin coğrafi dağılımları, ailelerinin sosyo-ekonomik durumu, eğitim düzeyleri ve meslekleri sahip oldukları benzerlikler ve farklılıkları tartışmak için bir zemin oluşturmaktadır. Bu çalışma İstanbul’un söz konusu zaman aralığındaki müzik haritasını oluşturmaya çalışmıştır. Müzisyenlerin şehir içerisindeki hareketliliği tespit etmek için başvurulan yoğunluk analiz metodu, mekân ve müzik arasındaki ilişkiler ağını ortaya çıkarmak içindir. Gephi yazılımı kullanılarak ortaya çıkarılan ağ analizleri, müziğin en yoğun olarak duyulduğu daireler (ilçeler) ve bunların birbirleriyle müzik üzerinden kurdukları ilişki biçimlerini anlamamıza yardımcı olmaktadır. Dairelerde bulunan tiyatrolar, gazinolar, tavernalar, semaî kahveleri, kıraathâneler, tekkeler, müzisyenlerin evleri ve meşk toplantılarının niceliksel analizleri şehir müziğinin yerel düzeyde nasıl üretildiğini göstermektedir. vi Birbirinden farklı müzik eğitim süreçlerine odaklanmak müzisyenlerin aslında yekpare bir yapıda değerlendirilmemeleri gerektiğini ortaya koymaktadır. Müzisyen olma süreçleri müzikal kimliklerini de şekillendirmekteydi. Analiz edilen müzisyenlerin önemli bir kısmı için müzik sahip oldukları şehir kültürünün bir parçası; tamamlayıcısıydı ve müzikle kurdukları ilişki biçimi de kâr odaklı değildi. Fakat 20. yüzyılın başlangıcıyla hızlanan politik krizler müzisyenlerin hayatında büyük değişimlere neden olacaktı. Bu çalışma politik değişimlerin müzikteki izdüşümlerini müzik okulları (1909 ertesi) ve radyo yayıncılığı (1927) üzerinden göstermeye çalışmaktadır. Müzik tarihi için köşe taşları olarak düşündüğüm bu iki kurum, imparatorluk müziğine has çeşitlilikten yeknesaklığa adım, müziğin profesyonelleşmeye ve müzisyenliğin sosyal statü kazanmaya başlaması ve müzik içerisinde değişen kadın rolleri gibi pek çok açıdan tartışmaya açılmaktadır. Anahtar Kelimeler: Osmanlı, İstanbul, müzisyen, sosyal tarih vii ACKNOWLEDGEMENTS Numerous people made this work possible. Many academics, musicians and friends have contributed to this dissertation but some deserve special mention for their invaluable support, guidance and encouragement. Firstly, I would like to express my special thanks and appreciation to my PhD supervisor Prof. Cem Behar, who has encouraged me to work on this interdisciplinary project all along. Without his guidance, this dissertation would not have been written. His studies in Ottoman music have inspired me to write a thesis on the social history of music. Moreover, I have truly benefited from his profound knowledge not only in Ottoman music history, but also in demography. Otherwise, the author of this thesis whose familiarity with statistics was limited would probably have gotten lost in the numbers throughout this research project. I would like to thank Prof. Abdulhamit Kırmızı for what I have learned from him throughout my past seven years at Sehir University. His immense interest on historical biographies and endeavor to employ them in his works helped me to formulate this thesis, which substantially based on the musicians’ biographies. His academic advice and critics were extremely important. I thank him for being a constant source of encouragement. I would like to thank all the members of the History Department at Şehir University who introduced me to many of the issues in the field of Ottoman studies and provided a global perspective to approach Ottoman history, society and culture. I would always remember the classes held by Prof. Engin Deniz Akarlı whose expertise, enthusiasim in teaching and critical approach taught me a lot about history writing. Moreover, his clarifications and suggestions were valuable at the initial stages of this thesis. I would also like to thank Asst. Prof. Yunus Uğur, who is also one of the members of the thesis committee, and Assoc. Prof. Abdurrahman Atçıl for their crucial feedbacks throughout my graduate studies and at different stages of this research. viii Three years project on the non-Muslim official functionaries in the late Ottoman era, which was conducted by Abdulhamit Kırmızı, and supported by TÜBİTAK (No. 113K156) between 2013 and 2016, was a milestone for my academic career. This project introduced me to statistical data analysis and SPSS (The Statistical Package for the Statistical Analysis). I would like to extend my special thanks to Ayşe Hümeyra Tüysüz, who also took in the same research project, for the practical advices on using the SPSS. I am also grateful to Asst. Prof. Zübeyir Nişancı and Asst. Prof. Reyyan Bilge, two members of the College of Humanities and Social Sciences at Şehir University, and Abdul Basit Adeel, a PhD candidate in Political Sciences at Binghamton University, who have generously provided assistance when I was grappling with data analysis in SPSS. I thank to two other members of the thesis committee, Assoc. Prof. M. Erdem Kabadayı at Koç University and Assoc. Prof. O. Güneş Ayas at Yıldız University, for their significant contributions. My warm thanks go to Zeynep Eroğlu, Zeynep Elif Öztaner and Hande Güçyılmaz from the Center for Urban Studies at Sehir University, who drew the historical maps in the thesis. I would also like to thank Büşra Parça Küçükkgöz and Halit Topçu from the Graduate School of Humanities and Social Sciences at Sehir University for their technical support and assistance throughout the course of this thesis. I would like to express my gratitude to the staff of many archives, research institutions, and libraries: Başbakanlık Osmanlı Arşivleri (BOA), İslam Araştırmaları Merkezi (İSAM), İstanbul Şehir University Library, İstanbul Araştırmaları Enstitüsü, and İBB Atatürk Kitaplığı. I have to express my sincere gratitude to Asst. Prof. Deborah Rohr, the author of the book, The Careers of British Musicians, 1750-1850, A Profession of Artisans, which I have read over and over again throughout my thesis research. ix I will always remember the academic and moral support of Prof. Georgios Ploumidis during my MA Thesis in Ioannina University, Greece between 2007 and 2009. He was probably the first person to persuade me for an academic future. Old friends afforded constant moral support, which