Viewed As a Respective Metaphor for Old and New, Was an Enormous Challenge in Developing a Collective Identity for the Young Republic

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2013 An Annotated Survey of Douze Chants d'Anatolie of Cemal Reùit Rey: A Practical Performance Companion to Understanding the Origin and Context of Turkish Art Song in the Twentieth Century Eric Jenkins

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COLLEGE OF MUSIC

AN ANNOTATED SURVEY OF DOUZE CHANTS D’ANATOLIE OF CEMAL REŞIT REY: A PRACTICAL PERFORMANCE COMPANION TO UNDERSTANDING THE ORIGIN AND CONTEXT OF TURKISH ART SONG IN THE TWENTIETH CENTURY

ERIC JENKINS

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Fall Semester, 2013

Eric Jenkins defended this treatise on November 7, 2013. The members of the supervisory committee were:

Timothy Hoekman Professor Directing Treatise

Evan Jones University Representative

Douglas Fisher Committee Member

Valerie Trujillo Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

ACKNOWLEDGMENTS

I would like to thank those who have supported me during the completion of this treatise. I dedicate this work to my parents, Robert and Pamela Jenkins, who have loved me and believed in the value and importance of my musical studies from an early age. Mom and Dad, I can never thank you enough! I would like to also recognize the steadfast assistance and backing of my academic advisor and major professor, Timothy Hoekman, who has spent countless hours helping me edit my writing and clarify my thoughts with greater concision. I must also thank my other committee members, Valerie Trujillo, Douglas Fisher, and Evan Jones, who have each helped shape my experience at Florida State University into a positive and enriching experience. During the course of researching materials for this document, I offer great thanks to Burcu Göker for her assistance in locating books, articles, and scores in libraries and archives throughout Turkey, in addition to her immeasurable help in translating texts in the Turkish language into English. I also wish to thank Ayşegül Giray for working with me on developing a clear sense of pronunciation for the song texts examined in this treatise. Lastly, I wish to acknowledge the publication offices of Éditions Musicales Alphonse Leduc, who have graciously agreed to allow me to produce selected score samples from Douze chants d’Anatolie as part of this document.

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TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES ...... vii

ABSTRACT ...... ix

INTRODUCTION ...... 1

1.1. Brief History of the Origins of Turkish Music in the Twentieth Century ...... 1

1.2. Aesthetics and Foundation of the “Turkish Five” ...... 2

1.3. Brief Biography of Cemal Reşit Rey ...... 4

1.4. An Introduction to the Background and Significance of Douze chants d’Anatolie ...... 4

EXAMINATION OF EACH SONG OF DOUZE CHANTS D’ANATOLIE ...... 8

2.1 Song Number 1: Urfalı ...... 8

2.1.1 Deciphering Poetic Context and Meaning of Urfalı ...... 8

2.1.2 Analysis of Musical Setting of Urfalı ...... 9

2.2 Song Number 2: Yonca ...... 12

2.2.1 Deciphering Poetic Context and Meaning of Yonca ...... 12

2.2.2 Analysis of Musical Setting of Yonca ...... 13

2.3 Song Number 3: Karşı be, karşı ...... 17

2.3.1 Deciphering Poetic Context and Meaning of Karşı be, karşı ...... 18

2.3.2 Analysis of Musical Setting of Karşı be, karşı ...... 18

2.4 Song Number 4: Kel Emin ...... 20

2.4.1 Deciphering Poetic Context and Meaning of Kel Emin ...... 21

2.4.2 Analysis of Musical Setting of Kel Emin ...... 22

2.5 Song Number 5: Ayın on dördü ...... 26

2.5.1 Deciphering Poetic Context and Meaning of Ayın on dördü ...... 27

2.5.2 Analysis of Musical Setting of Ayın on dördü ...... 28

2.6 Song Number 6: Kozanoğlu ...... 30

2.6.1 Deciphering Poetic Context and Meaning of Kozanoğlu ...... 31

2.6.2 Analysis of Musical Setting of Kozanoğlu ...... 32

2.7 Song Number 7: Köroğlu ...... 34

2.7.1 Deciphering Poetic Context and Meaning of Köroğlu ...... 35

2.7.2 Analysis of Musical Setting of Köroğlu ...... 36

2.8 Song Number 8: Yaylada ...... 38

2.8.1 Deciphering Poetic Context and Meaning of Yaylada ...... 39

2.8.2 Analysis of Musical Setting of Yaylada ...... 40

2.9 Song Number 9: Ak koyun meler gelir ...... 41

2.9.1 Deciphering Poetic Context and Meaning of Ak koyun meler gelir ...... 42

2.9.2 Analysis of Musical Setting of Ak koyun meler gelir ...... 42

2.10 Song Number 10: Sarı zeybek ...... 44

2.10.1 Deciphering Poetic Context and Meaning of Sarı zeybek ...... 45

2.10.2 Analysis of Musical Setting of Sarı zeybek ...... 46

2.11 Song Number 11: Çeşme ...... 50

2.11.1 Deciphering Poetic Context and Meaning of Çeşme ...... 51

2.11.2 Analysis of Musical Setting of Çeşme ...... 51

2.12 Song Number 12: On ikidir, efeler ...... 54

2.12.1 Deciphering Poetic Context and Meaning of On ikidir, efeler ...... 55

2.12.2 Analysis of Musical Setting of On ikidir, efeler ...... 55

2.13 Conclusion ...... 59

APPENDICES ...... 61

A. PUBLICATION INFORMATION AND ACCESSIBILITY OF SCORE ...... 61

B. NOTES ON TURKISH PRONUNCIATION ...... 62

C. COPYRIGHT PERMISSION LETTER ...... 63

BIBLIOGRAPHY ...... 64

BIOGRAPHICAL SKETCH ...... 67

LIST OF MUSICAL EXAMPLES

1. Douze chants d'Anatolie, Urfalı, measures 1-5 ...... 10

2 Douze chants d'Anatolie, Urfalı, measures 8-11 ...... 11

3. Douze chants d'Anatolie, Yonca, measures 1-3 ...... 14

4. Douze chants d'Anatolie, Yonca, measures 4-6 ...... 14

5. Douze chants d'Anatolie, Yonca, measures 10-11 ...... 15

6. Douze chants d'Anatolie, Yonca, measures 22-27 ...... 16

7. Douze chants d'Anatolie, Karşı be, karşı, measures 1-3 ...... 19

8. Douze chants d'Anatolie, Karşı be, karşı, measures 10-15 ...... 20

9. Douze chants d'Anatolie, Kel Emin, measure 1 ...... 23

10. Douze chants d'Anatolie, Kel Emin, measures 4-6 ...... 24

11. Douze chants d'Anatolie, Kel Emin, measures 18-27 ...... 25

12. Douze chants d'Anatolie, Kel Emin, measures 54-60 ...... 26

13. Douze chants d'Anatolie, Ayın on dördü, measures 1-5 ...... 29

14. Douze chants d'Anatolie, Ayın on dördü, measures 6-7 ...... 30

15. Douze chants d'Anatolie, Kozanoğlu, measures 1-2 ...... 32

16. Douze chants d'Anatolie, Kozanoğlu, measures 9-11 ...... 33

17. Douze chants d'Anatolie, Kozanoğlu, measures 8-23 ...... 34

18. Douze chants d'Anatolie, Köroğlu, measures 1-3 ...... 37

19. Douze chants d'Anatolie, Köroğlu, measures 10-15 ...... 37

20. Douze chants d'Anatolie, Yaylada, measures 1-4 ...... 40

21. Douze chants d'Anatolie, Yaylada, measures 9-12 ...... 41

22. Douze chants d'Anatolie, Ak koyun meler gelir, measures 1-8 ...... 43

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23. Douze chants d'Anatolie, Ak koyun meler gelir, measures 15-18 ...... 43

24. Douze chants d'Anatolie, Sarı zeybek, measures 1-4 ...... 47

25. Douze chants d'Anatolie, Sarı zeybek, measures 9-14 ...... 48

26. Douze chants d'Anatolie, Sarı zeybek, measures 15-16 ...... 49

27. Douze chants d'Anatolie, Sarı zeybek, measures 23-24 ...... 49

28. Douze chants d'Anatolie, Çeşme, measures 1-4 ...... 52

29. Douze chants d'Anatolie, Çeşme, measures 17-20 ...... 53

30. Douze chants d'Anatolie, On ikidir, efeler, measures 1-5 ...... 57

31. Douze chants d'Anatolie, On ikidir, efeler, measures 11-13 ...... 57

32. Douze chants d'Anatolie, On ikidir, efeler, measures 17-19 ...... 58

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ABSTRACT

This dissertation examines Douze chants d’Anatolie (Twelve Anatolian Songs), a complete art song set and one of the first mature works of Turkish composer Cemal Reşit Rey. The songs of Douze chants d’Anatolie are some of the first examples in the genre of native westernized art song in Turkey. The primary focus of this document is to serve as a musical companion or guide to the performer, demonstrating subtleties of text-setting, expression, mood, atmosphere, harmony, and polyphony of the songs as a means of making this work approachable to the English-speaking musician. Douze chants d’Anatolie stands as the first true song set from Turkey, and this document will also provide evidence that this work was one of the first to embrace the artistic reforms of Turkish leader, Mustafa Kemal Atatürk, who urged young composers to utilize Turkish folkloric trends and atmosphere within Western form, structure, and harmonic palette. An exploration into the translation, as well as the poetic and historic context of the anonymous folk song poetry will seek to help Western audiences shape a clearer understanding of the subtle nuances and veiled meanings often implied, but not explicitly stated in the words. A musical analysis of the composer’s setting of the poetry will characterize the work as being based within the French mélodie and Impressionism traditions in which the composer was educated, but idiosyncratic elements of the Turkish folk music traditions present in the score will also be surveyed and discussed.

INTRODUCTION

1.1. Brief History of the Origins of Turkish Music in the Twentieth Century The gradually growing familiarity and presence of Turkish music within the context of Western musical repertoires has granted listeners exposure to a most exquisite fabric of musical traditions, steeped in fertile cultural regions which date back to the most ancient of civilizations. Turkish music in the twentieth century owes much of its direction to the visionary legacy and revolutionary political and military leadership of Mustafa Kemal Atatürk, the founder and first president of Turkey. Atatürk, who was elected in 1923, after the overthrow of Sultan Mehmet VI Vahdettin and the subsequent establishment of the Republican Parliament in 1922, instigated remarkably progressive reforms for the newly-founded Republic of Turkey, including the foundations for rapidly westernizing the standards of musical education and scholarship support for generations of musicians and artists. The conceptualization of these reforms sought to break with past Imperialism and to forge a new, uniquely Turkish identity that more strongly identified with a secular West.1 Composers and musicians were awarded extensive government funding to travel and study abroad with the most brilliant teachers at some of Europe’s most notable musical institutions and cities. Such wide-scale exposure and education abroad for Turks, based on merit, and not limited merely to wealth or nobility, as had been the case in previous years, allowed a new generation of Turks to flourish for the first time in the synthesized context of Western classical music traditions. Western classical music long held a prominent place within the musical life of the Ottoman Empire. Sultans throughout the late eighteenth to twentieth centuries imported European opera companies, westernized army band and imperial court orchestras, as well as distinguished guests and celebrities such as Franz Liszt and Giuseppe Donizetti (the older brother of famous Italian opera composer Gaetano Donizetti), who held the post of Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II starting in 1828. These Western musical imports served as a means of drawing the Turkish people into a wider array of universal refinement and artistic education. During the introduction of such great musical

1 Kathryn Woodard, "Creating a National Music in Turkey: The Solo Piano Works of Ahmed Adnan Saygun" (DMA dissertation, University of Cincinnati, 1999), 4. 1 models from Europe throughout the Ottoman Empire years, Ottoman composers—trained solely in writing in Western styles—frequently relied on writing music in a manner of pure imitation, rather than utilizing native color and culture within their works. One might find this notion of a one-way cultural exchange quite peculiar, especially since it was the West in the eighteenth and nineteenth centuries that reached a fervent fascination and curiosity for all things Eastern. Many European composers, including Mozart and Beethoven, wrote music that imitated the “alla turca” spirit, though their perspective was mostly limited to the specific instrumentation, melody, harmony, and rhythm of military janissary bands of the Ottoman Empire.2 As Kathryn Woodard points out in her thesis “Creating a National Music in Turkey: The Solo Piano Works of Ahmed Adnan Saygun,” there were exceptions to the trend of Turkish composers avoiding native music in their compositions, beginning with the inclusion of “oriental” tunes within orchestral music by a few selected Ottoman composers as early as the mid-nineteenth century.3 Such subtle blending of native traditions within Western models began far earlier than the days of the Turkish Republic, and would foreshadow the reforms of the newly founded Turkish Republic in the 1920s and 1930s. 1.2. Aesthetics and Foundation of the “Turkish Five” Atatürk, as part of his cultural reforms in the 1920s, urged young musicians and artists to draw upon Turkish folk music as an inspiration and starting point for their own work, elevating the Turkish art forms toward a standard which was international in scope and could be appreciated by Western audiences. One goal of Atatürk was, in the words of Selim Giray, “to regain a pure Turkish identity while forgetting the Ottoman identity.” 4 The sudden political freedom and crossroads faced in the opposing cultural forces of East and West, viewed as a respective metaphor for old and new, was an enormous challenge in developing a collective identity for the young Republic. Ayşe Taşpınar points out that the rise in Turkish nationalism came about as a reaction to vanishing imperialism.5 Speaking at a discussion of music at Çankaya in 1934, Atatürk spoke of the need for a new collective identity of the common people which would break down stagnant

2 Ayse Taspinar, "Identity and the Ottoman Empire: A Musical Synthesis at the Crossroads of East and West" (DMA dissertation, University of California, Los Angeles, 2011), 96. 3 Kathryn Woodard, "Creating a National Music in Turkey,” 18. 4 Selim Giray, "A Violinist’s Guide to the Music of Ahmed Adnan Saygun: A Biography of the Composer and Discussion of His Violin Works with an Emphasis on the Suite for Violin and Piano" (DM dissertation, The Florida State University, 2001), 1. 5 Taspinar, "Identity and the Ottoman Empire,” 8. 2 barriers of the elite Ottoman past: “Ottoman music is not a strength that will be part of the Turkish Republic’s great revolutions. We are in need of a new music, and this new music will be a polyphonic music based on original folk music.”6 In the simultaneous documentation, exploration, and rigid study of native folk traditions and Western music, a new era had arrived which provided composers the ingredients needed for bringing a new, uniquely Turkish identity to Western classical music forms and traditions. It is the words of noted Turkish poet, philosopher, sociologist Ziya Gökalp (1876-1924) that shed light onto this new aesthetic direction given for music and civilization in Turkey at the time immediately preceding Atatürk’s reforms: Our national music, therefore is to be born from a synthesis of our folk music and Western music. Our folk music provides us with a rich treasury of melodies. By collecting them and arranging them on the basis of Western musical techniques, we shall have both a national and modern music.7

As part of the cultural reforms, westernized music educational institutions and societies sprang up throughout the country, including the exclusively westernized Musiki Muallim Mektebi (Music Teachers School) in Ankara in 1924 and the Halkevi (People’s House), also in Ankara, which opened to support the research of Turkish folk music in 1932. Notable western musicians, such as Paul Hindemith, later arrived to found Western curriculum systems at the Ankara State Conservatory in 1935. Béla Bartók was also invited by the Halkevi in Ankara to conduct highly organized and systematized research of folk music throughout Turkey.8 Throughout the first half of the past century, the most notable and arguably the best Turkish composers were the “Turkish Five,” who wrote works which assimilated westernized traditions. Each of these composers was born in the first decade of the twentieth century, before the foundation of the Turkish Republic. A nationalistic trait is present in their works, which explore Turkish folk traditions within the context of Western forms and musical idioms. The Turkish Five encompasses composers Cemal Reşit Rey (1904-85), Hasan Ferit Alnar (1906-78), Ulvi Cemal Erkin (1906-72), Ahmet Adnan Saygun (1907-91), and Necil Kazım Akses (1908- 99).

6 Woodard, "Creating a National Music in Turkey,” 9. 7 Ziya Gökalp, quote in Turkish Nationalism and Western Civilization: Selected Essays of Ziya Gökalp Trans. Niyazi Berkes. (Westport, CT: Greenwood Press, 1959), 300. 8 Woodard, "Creating a National Music in Turkey,” 10. 3

1.3. Brief Biography of Cemal Reşit Rey Of the composers belonging to the Turkish Five, Cemal Reşit Rey was the earliest born, and was also one of the most prolific and compositionally mature from an early age. Reşit Rey was born in Jerusalem in 1904, as the son of Ahmet Reşit, an important diplomat and author during the final years of the Ottoman Empire. Relocated in Istanbul, Cemal displayed prodigious musical skills as a child in both piano and composition, and received his earliest piano lessons from his mother.9 After moving to Paris in 1913 during turbulent political times, Reşit Rey enrolled in the Lycée Buffon, while taking private lessons with the famous French pianist and pedagogue Marguerite Long. In addition to his piano studies, Reşit Rey studied composition with Raoul Laparra, musical aesthetics with Gabriel Fauré, and conducting with Henri Defosse. It was composers of the Turkish Five, like Reşit Rey, who refuted early extreme cultural positions and opinions of Western supremacy in the Republic by engaging compositional pathways that remain true to simpler monophonic Turkish folk elements while paying homage to the balanced polyphonic Western technique in their works. When the greater insistence upon polyphonic music was even propagated to such an inconceivable height that the idea of banning non-polyphonic music universally across Turkey was once proposed by the Turkish government, Reşit Rey’s response at a meeting of seven musicians in Ankara in 1936 reveals a more encompassing demeanor to the directions Turkish music faced at the time: When the plan for banning monophonic music was proposed, I responded by saying, “if a shepherd is in the fields and feels the need to sing a song, should he return to the village to get a second shepherd telling him to sing the ‘second voice?’ In this end the plan was dropped.”10

1.4. An Introduction to the Background and Significance of Douze chants d’Anatolie It is with this acceptance and understanding of native folk traditions that Reşit Rey composed Douze chants d’Anatolie (Twelve Anatolian Songs) in 1926, a mature work considered by notable Turkish musicologist Evin İlyasoğlu as “the first product of new Turkish music.”11 Douze chants d’Anatolie was first performed at the Pleyel Concert Hall in Paris and was published soon after by Heugel Press. The music of this work is likely inspired by native Anatolian folk tunes which Reşit Rey had catalogued.12 Anatolia is the term given to the

9 Evin İlyasoğlu, 71 Turkish Composers (İstanbul: Pan Yayıncılık, 2007), 25. 10 Cemal Reşit Rey, quoted in Halit Refiğ, Atatürk ve Adnan Saygun: Özsoy Operası (Istanbul: Boyut Yayın Grubu, 1997), 11. 11 İlyasoğlu, 71 Turkish Composers,19. 12 Ibid, 20. 4 landmass and plateau that encompasses the majority of Turkey that lies within the Asian continent. The composer’s choice of texts can be traced to fragments of anonymous words of known Turkish folk songs today. It is difficult to examine the origins of these songs, as Turkish music was dispersed across isolated lands and peoples, and was learned and passed down for generations by ear alone, and thus not notated. It is folk music of the indigenous culture of village life in rural Anatolia, and not Ottoman court music—previously confined to palace culture and concentrated in urban centers—that provided the impetus behind the creation of early works of the Turkish Five.13 Because the songs were premiered in Paris and were written under the compositional influence of French music, the composer set the song texts in both Turkish and French. The Turkish texts were translated into French by the composer’s brother, Ekrem Reşit Rey, who was an avid scholar and student of French literature. Performers have the option to sing the songs in either language, although the musical setting seems to best suit the words, rhythms, and inflections of the native Turkish language. The Turkish language is written in two formats throughout the score. The first is a rough phonetic approximation of the Turkish language into French spellings and sounds, such that a native French speaker with no knowledge of Turkish could reasonably pronounce the Turkish text. The second format is the now defunct Ottoman Turkish script. The Ottoman Turkish script, with an appearance similar to Arabic or Persian languages, would soon be replaced by the modern Latin-based Turkish Alphabet that would be implemented by the Turkish Republic into compulsory law in 1929.14 The songs of Douze chants d’Anatolie are the first examples in the genre of native art song in Turkey, and are highly significant in their subtleties of expression, mood, atmosphere, harmony, and polyphony. There is clear evidence in the score of this work to suggest that the composer was strongly influenced by his studies of contemporary French music with his former composition teacher, Raoul Laparra, the dedicatee of the work. Through careful study of the text and music in each of these twelve songs, one can view this work as exemplary, for being both distinctly Turkish in content and also strongly derived from French and wider European traditions.

13 Woodard, "Creating a National Music in Turkey,” 6. 14 Ibid, 5. 5

Regarding this combination of a non-Western composer incorporating the elements of his own country’s native music into Western style compositions, Reşit Rey reveals the duality of process inherent in his cultural background: “. . . every nation has two civilizations . . . one is its formal civilization, the other is the civilization of the people.”15 The “formal civilization” in the case of Douze chants d’Anatolie is represented by the learned forms and structures of Western music, while the “civilization of the people” is demonstrated by local idiosyncratic elements of culture—culture which, according to Turkish sociologist and aesthetician Gökalp, “cannot be developed artificially and cannot be transmitted from nation to nation.”16 An exploration of issues in this song set in the following chapters will include the following: Turkish modalism and melodic styles in folk music and music of the Sultan’s court, the usage of native dance meters, irregular rhythms, folk music instrument imitation, the usage of Western polyphony within traditional Turkish music that uses monophony exclusively, and the inclusion of harmony and impressionistic characteristics particular to the French school of music in which Reşit Rey was educated. The purpose of this study of poetic and musical details heard in Douze chants d’Anatolie is to provide Western musicians—particularly singers and pianists interested in the genre of art songs—with contextual points of reference for immersing themselves in a highly original song set that is representative of the best that Turkish music in the first half of the twentieth century has to offer. A prior sense of familiarity with the French mélodie style, which Douze chants d’Anatolie is rooted in, will be invaluable in providing the basis for further exploration into understanding idiosyncratic musical elements of Turkish folk music and text evident in the score. As part of an examination of Douze chants d’Anatolie, an International Phonetic Alphabet transcription of the Turkish text, a literal and poetic translation of the words, as well as a performer’s companion to approaching foreign elements of the songs, is provided for each of the songs. It should finally be noted that the musical language and literature of the Ottoman court was highly complex and chiefly used by the culturally elite,17 and that the songs of Douze chants d’Anatolie remain rooted in far simpler folk origins. One of the most foreign aspects of Turkish music is the usage of native makams or scales, and a full study of the intricacies of this aspect of

15 Kathryn Woodard, “Creating a National Music in Turkey,” 5. 16 Gökalp, quoted in Turkish Nationalism and Western Civilization, 106. 17 Giray, “A Violinist’s Guide”, 2. 6

Turkish music is well beyond the scope of this paper. Both traditional Turkish court music and Turkish folk music traditions hold common characteristics in makams native to Anatolia and surrounding lands of Arabia and Persia that once encompassed the Ottoman Empire.18 Such makams are not simply scales, but rather based upon subtle nuances of microtones and modalism “that guide compositional and melodic progressions.” 19 Though these makams are not directly adaptable or applicable to the Western temperament of these songs for voice and piano, there are several clear instances in Douze chants d’Anatolie where the composer has chosen to evoke the qualities of a particular makam.

18 Giray, “A Violinist’s Guide”, 2. 19 Boja Kragulj, "The Turkish Clarinet: Its History, an Exemplification of its Practice by Serkan Cagri, and a Single Case Study" (DMA dissertation, The University of North Carolina at Greensboro, 2011), 23. 7

EXAMINATION OF EACH SONG OF DOUZE CHANTS D’ANATOLIE

2.1 Song Number 1: Urfalı

urfalɯ Urfalı From Urfa urfalɯjam batʃɛlijam ba:lɯjam Urfalıyam, bahçeliyam, bağlıyam I am from Urfa, I have a garden, I am tied (I am from Urfa, I have a garden, I belong to somebody) kurʃun dɛlmiʃ dʒi:ɛɾimdɛn da:lɯjam Kurşun delmiş ciğerimden dağlıyam Bullet made a hole in my lungs I want to cauterize (A bullet pierced my lungs, I must cauterize this wound)

gyzɛlim gɛl gɛl Güzelim, gel gel My beauty come come (Come my beauty, come)

sɛvdi:im gɛl gɛl Sevdiğim, gel gel My love come come (Come my love, come) gijdirmiʃlɛr bojlu bojlu sɛvaji Giydirmişler boylu boylu sevayi Dressed high lover (You were well-dressed, lover) nɛ sɛn gɛlin oldun nɛ bɛn gyvɛji Ne sen gelin oldun, ne ben güveyi! Neither you bride became, neither me groom! (You didn’t become a bride, I didn’t become a groom!)

[Refrain repeated]

2.1.1 Deciphering Poetic Context and Meaning of Urfalı The first poem of the set, Urfalı, is modestly structured and direct in expression. The words are written in a dialect of southern Turkey that does not reflect the spelling and

8 pronunciation of the modern Turkish language, suggesting that the narrator is of simpler, rural origins. The narrator states he is from Urfa, a city of ancient origins in southeastern Turkey, located near the Euphrates River and the Syrian border. The first line of text is made up of three short utterances in the first-person perspective: the narrator tells the audience where he is from, what he possesses, and discloses that he belongs or even perhaps is bağlıyam (engaged) to someone. The next line of text makes an abrupt shift to contrasting unpleasant imagery. The bullet, an image that is utilized in the texts of several songs throughout this set, often extends in meaning beyond mere physical affliction, serving as the metaphor for sudden emotional devastation. Cauterization, and more generally the act of burning, is another image employed throughout the song set, when describing both the lustful longing of love as well as the painful sting of unrequited love. The second verse reveals the reason for the narrator’s painful despair. The word sevayi is archaic and unknown to modern Turkish speakers, but likely means “lover.” An impression is given that the narrator’s beautiful, well-dressed lover was prevented from uniting with him in their real or anticipated wedding, for reasons not stated or implied. Instead of sinking into a further state of sadness or regret, the narrator returns to the simplistic mood of the first line of the poem, urging Sevdiğim (my love) to come to his arms.

2.1.2 Analysis of Musical Setting of Urfalı The musical setting of this poem begins with a four-bar introduction in the piano part, structured in a manner of an antecedent-consequent relation (see Example 1). Three distinct voices in the piano set the scene in a contrapuntal texture that is simple and diatonic. A 7/8 meter structures the rhythm of the work, moving inconsistently in beat pulse groupings of two and three. The musical introduction evokes a rural, pastoral character that embodies the simple poetic introduction delivered by the narrator of the poem. Both the lowest and highest voices in the piano could claim the spot for principal melody, but it is the lowest line, rumbling deep in register and marked with conflicting indications of both legato and bien marqué (well-marked), that is soon taken up by the vocal line.

Example 1. Douze chants d'Anatolie, Urfalı, measures 1-5. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The entrance of the vocal line coincides with the piano taking on a more impressionistic accompaniment, marked with both soft-pedal and damper pedal and with the words, dans une sonorité douce et printanière, avec un sentiment rustique (in a soft and spring-like sonority, with a rustic sentiment) to achieve a new timbre. The expansiveness of the soft, bell-like sonorities, built upon a G pentatonic scale, creates a strongly French-influenced character and mood. The apparent rustic simplicity of the musical texture stems from the predominance of parallel thirds in the voice leading and the predictable rising and falling contour of both the voice and piano parts. The first line of the text is repeated with the addition of increasingly rapid figuration in the upper register of the piano, evoking the trill and tremolo character of bird song. The placement of this strongly pictorial device helps gather the listener into the narrator’s garden setting in the poetry (see Example 2). A sudden arrival in a minor tonality happens at the onset of the second line of text, which speaks of darker thoughts such as emotional bullets, wounds, and a broken relationship. A lamenting sadness is achieved through a high degree of chromaticism and dissonance. While the vocal line remains firmly fixed on the diatonic nature of the G major scale established since the opening of the piece, the piano frequently clashes with

10 the voice, incorporating non-harmonic tones such as G-sharp or F-natural into the implied E minor tonality. Inner parallel movement of voices in the piano, frequently in intervals of thirds or sixths, and suspensions of seconds and fourths, evoke a hazy texture which conjures the poetry’s broken heartedness rooted in the past. The anxious yearning of the text is expressed by the metrical ambiguity of rhythmic groupings and the dense contrapuntal mingling of five distinct voices, giving the listener the feeling of never reaching a clear point of arrival anywhere in the music.

Example 2. Douze chants d'Anatolie, Urfalı, measures 8-11. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The refrain of the poem seems to speak deliriously to the forsaken lover— “somebody” to whom the narrator claims to belong in the first line of the text. The simple repetition and parallelism in the words summon soft, hushed tones in both voice and piano parts. A sudden pianissimo dynamic indication and non-legato articulation make this section of the song distinct

11 and purposely pared down to simple elements. The song ends without a clear resolution to the tonic G; the voice concludes on the second scale degree, while the piano plays an inconclusive G pentatonic sonority, complete with added scale degrees two and four.

2.2 Song Number 2: Yonca

jondʒa Yonca The Clover

ɛvlɛɾɪnɪn øny jondʒa jandɯm hɛi Evlerinin önü yonca yandım hey! Of the houses in front the clover I burned Ah! (Oh my, was I ever on fire before the clover in front of the houses!) jondʒa da kalkar jar bojundʒa hɛi hɛi amanɯm aman hɛi Yonca, da, kalkar yar boyunca hey! hey! amanım aman! hey! The clover, also, raises the lover lengthwise Ah! Ah! Oh my Lord help! Ah! (The clover that raises the lover to great heights, oh, oh, for the love of God help me, ah!)

ɛvlɛɾɪnɪn øny harman jandɯm hɛi Evlerinin önü harman yandım hey! Of the houses in front the harvest I burned Ah! (Oh my, was I ever on fire before the harvest laid out in front of the houses!) gidɛn gynlɛr dɛrtlɛɾɪm artar hɛi hɛi amanɯm aman hɛi Giden günler dertlerim artar hey! hey! amanım aman! hey! Gone the days my worries increase Ah! Ah! Oh my Lord help! Ah! (The days are now gone, how my anxieties have grown, oh, for the love of God help me, ah!)

2.2.1 Deciphering Poetic Context and Meaning of Yonca Yonca is the Turkish word meaning “clover,” but the word also denotes a common feminine name throughout Turkey. As is the case in many cultures throughout the world, the clover in Turkey symbolically represents positive facets of life, such as wealth, prosperity, luck, and happiness. Yonca grows abundantly throughout the countryside in Turkey and is cultivated for its value for livestock. This insight explains the progression in the poetry from yonca to harman (harvest), which reveals not only the agricultural assemblage gathered in this village, but also the euphemism for the growing number of beautiful young women who have passed by the windows of the speaker’s house.

The linguistic flexibility of the exclamatory words used at the ends of phrases in this poem make it initially difficult to discern the speaker’s exact emotional state. Amanım, for instance, is a colloquial expression meaning “Oh my!” or “What now!” Aman is even further muddled in intention, with the implication to express disgust, anger, mercy, or even pleasant approval. A list of meanings of aman includes “Alas,” “God,” “God help us,” “My goodness,” or “God have mercy!” Since there is so little narrative activity in this poem, one might wonder if the speaker is merely overcome with temporary throes of passion, or whether larger fears and doubts overshadow a longer-lasting state of unrequited love. An examination of the word yandım (I burned) reveals a usage throughout Turkey, in contexts of love, to mean “to be madly inflamed with burning sexual desire.” The further inclusion of words kalkar (heightens) and boyunca (lengthwise) also have undertones of masculine sexual innuendo. Although the last line of the poem references missed opportunities and personal regrets, little doubt should remain that the speaker will one day soon find himself “burning” again. 2.2.2 Analysis of Musical Setting of Yonca The composer’s musical language in this song skillfully employs aspects of French melodic and harmonic patterns as well as native Turkish modes. The opening two bars of introductory material set in the piano encompass a simple and fully westernized style. A vivid clarity of texture and essence of neo-classic grace in the movement of musical lines evokes a quality of Ravel’s piano music. The introduction avoids establishing a clearly defined sense of tonic. The presence of ninths, elevenths, and thirteenths in both the harmony and melody—above a later confirmed root D—produces an impressionistic haze of color (see Example 3). The additive metrical pattern of 4/8+5/8 is an example of what the Turks call the aksak “limping” rhythm, an uneven pulse characteristic of so many folk dances common to the Balkan region. The final note of the introduction—a D in the left hand of the piano—is elided to begin a canon between the voice and piano, at the interval of a fourth and displaced by a quarter note. The innocuous introduction, steeped in qualities of French impressionism, abruptly shifts to a modality and melodic contour that is distinctly Turkish, yet highly dependent on the learned and confined behaviors of westernized canonic procedures. A nebulous world of unaligned meter, rhythm, and exotic melodic intervals prevails (see Example 4). The canon itself is symbolic of the quest of the speaker: a journey lost in following passionate desires a mere step away.

Example 3. Douze chants d'Anatolie, Yonca, measures 1-3. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Example 4. Douze chants d'Anatolie, Yonca, measures 4-6. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The pitch material incorporated into the first section of this binary song follows the pattern of the Zengüle mode, and also typifies characteristics of the Hümâyun and Hicaz modes. The durak (final tonic) of the Hümâyun and Hicaz makams is on A and the güçlü (co-final reciting dominant tone) is up a fourth on D, rather than the more archetypal dominant fifth in western modes (see Example 5). Several distinctive features of the music help evoke an atmosphere of spontaneity: the lack of a clearly defined metrical pulse, fluid stepwise wandering melodic lines centered primarily around two pitch centers, and the usage of augmented second intervals that are reminiscent of an imam’s call to prayer. These musical qualities embrace the

14 essence of the Uzun Hava (long melody), a free-flowing melodic form derived from Anatolian folk song, in which metrical or rhythmic structures are not established.20 The specified Turkish modes employed in this section of music lack a melodic yeden (leading tone), a crucial feature of tonality utilized frequently in western musical traditions. Turkish folk music traditions often arrive at a point of cadence or repose through emphatic rhythmic motion and downward stepwise melodic contour into the final tonic, particularly when no leading tone is present in the melody.

Example 5. Douze chants d'Anatolie, Yonca, measures 10-11. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales). Figure followed by corresponding makam examples displaying pitch content.

A movement into the B section of the song’s binary form aligns with the beginning of the second phrase of text, “Yonca, da, kalkar yar” (The clover that raises the lover to great heights) and later the fourth phrase, “Giden günler dertlerim artar” (The days are now gone, how my

20 Giray, “A Violinist’s Guide,” 50. 15 anxieties have grown). The exotic sound world of Turkish modality heard in previous music slips away in favor of French-like impressionistic sonorities, recalling the brighter major mode optimism of the introductory two bars (see Example 6). The dreamy, contented harmonies reflect the speaker’s escape into imagined passionate indulgence. The inclusion of negativity and worry in the fourth line of text with this happier music seems ill-suited. It is likely in this case that the composer either followed the somewhat insensitive text setting of the original anonymous folk song, or chose to insert irony into the poetry by juxtaposing past lustful passion with present regretful emptiness.

Example 6. Douze chants d'Anatolie, Yonca, measures 22-27. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Though Turkish modality is, for the most part, absent in this “B” section, the melodic line continues to remain firmly entrenched on two key pitch centers separated by a fourth (now

16 shifted to F-sharp and B-natural). The canonic device utilized in the first half of the song is replaced by a simpler chord-based piano accompaniment, flavored by melismatic flourishes. Clear evidence exists for the composer’s study of French impressionism: frequent usage of harmonic parallelism, transparent layering of musical lines in the texture, tertiary harmonic motion, and emphasis of the added sixth scale degree. A highly rhythmic dance postlude, played by solo piano, combines the qualities of Turkish modality and the free-flowing Uzun Hava contour of the “A” section with the tender, French-inspired major-mode lyricism of the “B” section. The detached non-legato articulation in the left hand of the piano has an urgency and forcefulness that should outline the speaker’s insistence to prove his masculinity and worth in front of such abundant beauty.

2.3 Song Number 3: Karşı be, karşı

karʃɯ bɛ karʃɯ Karşı be, karşı Hey you, opposite me! karʃɯ bɛ karʃɯ aman japtɯɾalɯm hanlaɾɯ aman Karşı be, karşı aman, yaptıralım hanları aman Opposite, hey you! Opposite please, let’s build khans please (Hey you, opposite me, let’s build a caravansary together) kaldɯɾalɯm kasaveti aman gamlaɾɯ hɛi Kaldıralım kasaveti, aman gamları, hey! Let’s take away worry, please anxieties, hey! (Let’s please take away our worries and anxieties!) doldur doldur aman veɾiʃɛlɪm dɛmlɛɾɪ aman Doldur doldur aman, verişelim demleri aman Fill in fill in please, let’s talk at length alcoholic drinks please (Fill our shot glasses again and again, let’s talk a while) kajɯrmajɯn ɛfɛm bu bøjlɛ kalmaz hɛi Kayırmayın efem bu böyle kalmaz hey! Do not show favoritism towards my soldier this in this way should not remain hey (Let’s put aside petty preferential treatment of others and talk as equals, my soldier) janar dɛɾunumun atɛʃi sønmɛz hɛi Yanar, derunumun ateşi, sönmez hey! Burning spiritual inner flame, undying hey! (The inner heartfelt flame of our friendship is undying!)

2.3.1 Deciphering Poetic Context and Meaning of Karşı be, karşı Karşı be, karşı (Hey you, opposite me!) is a drunken song set around a bonfire, delivered from the perspective of one efe (leading soldier) to another. Efe is the name given to the leaders of loosely associated bands of guerilla soldiers from the Aegean region of Anatolia, who had frequently rebelled against Ottoman authorities, beginning in the 16th century. The actions of the efe were seen as heroic by villagers, as the efe and his group were most often the only protection the common people had from unscrupulous landlords, bandits, and tax collectors. The efe presided over his tribe of soldiers; each soldier was known as a zeybek. Hanları (khans or caravansaries) were roadside structures along trade routes, where passing caravans carrying goods and commerce could rest and recover during a long journey. Traveling caravans could resupply, tend to their animals, and trade with merchants based at the hanları. Building hanları would be a lucrative endeavor, but construction of these facilities would require an enormous amount of labor. This insight allows one to understand why one efe and his band would wish to join forces with another. 2.3.2 Analysis of Musical Setting of Karşı be, karşı The music takes the characteristic form of an ağır (slow) zeybek, a folk dance developed by zeybek soldiers. Settings of this dance form always consist of nine beats. In this song the 5/8- 4/8 meter is divided into an irregular beat pattern of 2+2+2+3. Zeybek dances frequently would begin with an instrumental gezinleme (introduction), in which the dancer would wander around before singing and dancing in time with the rhythm. The beat patterns of this dance would frequently be accompanied by a Turkish davul (large double-headed drum), which would help articulate the steps of the dancer.21 The composer evokes this drum roll pattern in the lowest register of the piano in pianississimo dynamic (see Example 7). The pitch content in this song principally embraces Western tonality, but includes modifications to invoke an exotic flair characteristic of Turkish modes, such as a lowered second scale degree and free borrowing between major and minor modes. The long-ranging musical lines in the first nine bars of the piece lack a foundation of vertical harmony, instead deriving connectedness through counterpoint.

21 Giray, “A Violinist’s Guide”, 45. 18

Example 7. Douze chants d'Anatolie, Karşı be, karşı, measures 1-3. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The piano breaks from the hushed, mysterious quality of the opening bars with sudden, loud eruptions of booming, sustained sonorities, beginning at the texts Kaldıralım kassaveti (Let’s take away our worries) and later Kayırmayın efem (Let’s put aside petty preferential treatment, my soldier) (see Example 8). These big, impressionistic harmonies outline seventh chords and include many suspended seconds and fourths, which shimmer to reflect the speaker’s wondrous plans to build the profitable hanları stretching off into distant lands. The vocal line here is marked avec force (with force) to capture the boisterous essence of the speaker’s wild exclamations. The sudden hollering of the efe is so surprising that it briefly distracts the drummer from his duty of beating the pulse. Sudden dynamic contrasts juxtapose sforzando and pianississimo dynamics against one another to conjure a magical sense of distance and time. The piano plays a postlude marked sourdement (muted), which remains strictly in time while echoing a new melodic idea in imitative counterpoint. The music dies away imperceptibly into a whispered close, as if the speaker’s drunken drowsiness has finally lulled him away to a distant dream world.

Example 8. Douze chants d'Anatolie, Karşı be, karşı, measures 10-15. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

2.4 Song Number 4: Kel Emin

kɛl emin Kel Emin Bald Emin ah kɛl emini vurdular ʃu dɛɾɛdɛ Ah! Kel Emini vurdular şu derede Ah! Bald Emin they shot that at the brook (Ah! They shot bald Emin at that brook) gømlɛ:ini ylɛʃlɛɾɛ aman aman sardɯlar Gömleğini üleşlere aman, aman sardılar!

His shirt portions alas, alas they wrapped (They took a piece of his shirt and wrapped it around)

jandɯm al:lah jandɯm Yandım Allah, yandım I’m burned God, I’m burned (I’m burned God, terribly so)

tʃok tʃa:ɯrdɯm tʃok ba:ɯrdɯm Çok çağırdım, cok bağırdım A lot I called, A lot I yelled (I yelled out a lot, again and again) fain ɛfɛlɛɾɛ aman dujmadɯ Fain efelere aman duymadı Honorable soldiers my god did not hear (The honorable soldiers did not hear my cries, alas) ah akʃɛkɛɾɛ dɛ vardɯm aman Ah! Akşekere de vardım, aman Ah! To Aksek too I came, alas (Ah! I came to Aksek, my god) karalɯ habɛrlɛr jol:ladɯlar Karalı haberler yolladılar Black news they sent (They sent the devastating news) ja:ma da ja:mur ɛsmɛ dɛ ryzgar Yağma da yağmur, esme de rüzgar Don’t rain too rain, don’t blow too wind (Oh rain, don’t rain, wind, don’t blow) jolda da joldʒu var bɛnim Yolda da yolcu var benim! On the road also a passenger there is me (There is a passenger on the road, it’s me!)

[Refrain repeated]

2.4.1 Deciphering Poetic Context and Meaning of Kel Emin This poem is delivered from the perspective of a woman who is suddenly devastated upon receiving news that Kel Emini (Bald Emin)—presumably her lover, friend, or family member—has been seriously injured in the distant town of Aksek. Aksek is located near Uşak, a

21 city in the interior part of the Aegean region of Turkey. The specific reference to a particular brook (that brook) seems to give a specific location and purpose to Emin’s actions—likely a wartime skirmish near a stationed post, considering the injured man was administered to by other soldiers. The narrator “burns,” but her feelings seem less of passionate desire than appropriate anxious longing to be there with him. As she cries out in fits of rage and sadness, she comes to the realization that the honorable soldiers who are with him will not hear her sufferings. She must go to him. The final lines of the text bring the narrator to Aksek to be by Bald Emin’s side. The reference to further “devastating news” in the next line of text would suggest that Bald Emin did not survive his injuries. On her return journey home, the narrator beseeches fate to allow her safe passage and deliver her away from further devastation. The pervading sense of dread is veiled in the dreary metaphor of blowing rain and wind. 2.4.2 Analysis of Musical Setting of Kel Emin This opening of this song conjures up imagery of windswept plains. Marked Ad libitum (at liberty) and venteux (windy), the opening piano figuration repeats a rapid sextuplet unit, incorporating only the open intervals of fourths, fifths, and octaves above the root A (see Example 9). Above the piano part, the voice sustains a single plaintive cry on the word “Ah!” which rises and falls in dynamic intensity in reaction to the sharp, devastating news delivered to the narrator. The vocal part is marked by the words comme venant d’abord du lointain (as if coming from the distance), indicating that the voice should be heard as an echo within the impressionistic resonance of the piano. The news of Bald Emin having been shot in the text is depicted by two rising chromatic lines in the piano, marked comme le hululement du vent (like the howling of wind). The broken octave bass line, rising and falling in an enormous swell, combines with the repeated note figuration in the right hand to form combinations of tritones and minor sixths that resolve into fifths. Above this piano figuration, the voice pushes forward in a recitative-like approach, forcing out the bad news of the text in a dramatic manner marked sans respire (without breathing) to inflect the dramatic panic of the words. The voice tries desperately to keep up with the rhythmic activity of the piano, but cannot, and instead goes back to a crying outburst over music marked, puis…se rapprochant très vite (then coming closer very quickly), which indicates the pictorial qualities of a sudden swell of wind coming into focus in the voice and piano parts.

Example 9. Douze chants d'Anatolie, Kel Emin, measure 1. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

A completely different character of music begins in conjunction with the second line of text, which speaks of the piece of fabric wrapped around the injury. A clear sense of meter and pace articulate this slow dance-like meter of 4/8+5/8. The voice part is marked comme une 23 lamentation (like a lament). The weaving chromaticism of the vocal line depicts a sense of wandering loss and despair. The piano part features long, sustained quartal sonorities and a contrapuntal line that works in tandem with the vocal line. Consecutive major seconds and chromatic dissonance clash painfully between the two parts at times (see Example 10). The next line of text, speaking of burning with sorrow, occurs over a shift to yet another section of musical material. The previous dance meter is now sped up slightly, marked Un rien moins lent (a little less slowly) to express heightened emotions. Through the combination of major and minor tonalities, the listener is left to wonder if the narrator is dancing the line between remembrances of past joys and the stark reality of present pain.

Example 10. Douze chants d'Anatolie, Kel Emin, measures 4-6. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Accented strong beats in the music underlying the text that speaks of the honorable soldiers are emphatic in order to reflect the excruciating distance and helplessness separating the narrator from Bald Emin. A joyous piano interlude suddenly cuts off the voice, retreating completely to the major mode in a total break from reality (see Example 11). An intensifying trill soon brings back the pain of the E-flat from the earlier lamenting tonality, before ushering in the return to the “wind” imagery that began the song.

Example 11. Douze chants d'Anatolie, Kel Emin, measures 18-27. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The music of the first verse and refrain of the first four lines of the poetry is repeated with slight expansions to encompass the second verse and refrain of the last five lines of poetry. This is not surprising, given the obvious parallelism in the poem. The song ends with an expanded piano postlude, which harkens back to the music of the exuberant major mode interlude. The writing is technically demanding at times, shifting to notation written on three staves. Since this music can only be played properly by three hands, one might reasonably wonder what the composer intended for concert performance (see Example 12). One possible solution would be to bring the notes on the highest stave down an octave, in order to achieve a combination with the material of the middle stave. The final four bars return one final time to the “wind” imagery, which dies away into an imperceptible silence as the piano imitates in parallel fifths the voice’s distant cries.

Example 12. Douze chants d'Anatolie, Kel Emin, measures 54-60. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

2.5 Song Number 5: Ayın on dördü

ajɯn on dørdy Ayın on dördü The 14th of the Month bugyn ajɯn on dørdy Bugün ayın on dördü, Today month of the fourteenth (Today is the fourteenth of the month) kɯz satʃɯnɯ kɪm ørdy Kız saçını kim ördü? Girl, hair who braided (Girl, who braided your hair?)

ørdyjse ɛfɛm ørdy Ördüyse, efem ördü If braided, village soldier braided (Whoever braided your hair is the village soldier)

aj kaɾanlɯk kɪm gørdy Ay karanlık kim gördü? Moon is dark who saw (The moon is dark—who saw what was happening?) aj ajdɯndɯr vaɾamam Ay aydındır varamam The moon is bright if, I cannot reach (If the moon is bright, I cannot come to you) dɪle dɛstan olamam Dile destan olamam Tongue epic I cannot be (I can’t be subject to the gossips) aj buluta gɪɾɪndʒe Ay buluta girince The moon cloud will enter if (If the moon enters the cloud) ba:lasalar duɾamam Bağlasalar duramam Bindings I cannot remain (The bindings cannot hold me down)

2.5.1 Deciphering Poetic Context and Meaning of Ayın on dördü One of the greatest difficulties of this poem is determining who the narrator is, and understanding to whom the words are being confided. A closer examination of several key words in the text focuses the narrative perspective. Ayın on dördü (the fourteenth of the month) is a reference significant to a much older society of Anatolia, dating back to ancient times. On this particular day, the presence of the moon at night is said to reveal the bright and beautiful features of the face in a true, unveiled form of self. It is with this folk reference in mind that one is able to read into the overtly sexual overtones of this poem and discover that the moon has magical powers believed to attract lovers and further their romantic interests. Multiple possibilities exist for interpreting the position of the speaker. If the third-person narrative of the first four lines of text is considered alone, one could reasonably assume that this poem is about one village girl, who has had recent amorous interactions with a local efem (village soldier/tough guy) and is being investigated by a female friend. The interweaving action

27 of the efe braiding the hair of the female seems symbolic and indicative of more impassioned engagements not stated. The last four lines of the poem make a sudden shift to first-person perspective. One possible conclusion is that time has now passed between the first four lines of the poem; we are now hearing the girl speak at a distance to her lover, the efe, and finally to herself. While the brightness of the moon on this day of the month connotes beauty, its light also reveals trysting places to suspicious figures that do not approve of illicit encounters. It is only when the luster of the moon is blunted behind the cover of clouds that the lovers are able to break free from societal restrictions on their behavior. 2.5.2 Analysis of Musical Setting of Ayın on dördü The musical language of this song is highly modal and rooted in impressionistic harmonies. The melodic materials are fixed almost entirely on an E natural minor scale, and are strongly subordinate to two pitch centers—the tonic E, and the subdominant A. The modest diatonic vocal line speaks in a manner characteristic of folk-song and is contrasted by the busier, contrapuntal piano part, full of chromatic inflections and passing tones (see Example 13). The imagery of veiled moonlight, hidden shadows, and secrecy is expressed through increasing chromatic tensions and moving lines, which have a sense of continuously creeping forward in a manner not meant to be keenly noticed. The piano creates an atmospheric musical color and frequently paints imagery from the text with particular gestures. Beginning in the sixth bar of the song, the shift to a wide polarity of keyboard register conjures the sneaking soft footsteps of a lover; an ascending step-wise bass line set in pianissimo dynamic tiptoes against descending chromatic disapproval in the right hand (see Example 14). The later verse, Ay buluta girince (The moon enters the cloud), set over these nebulous harmonic dissonances, is a particularly apt example of impressionistic word painting. The unadorned progression of harmonies established since the beginning of the song is broken by the placement of a beautiful ninth chord with a cascading arabesque figure in the piano, marked lointain (distant), which suggests a rapturous form of love desire shrouded in the poetry.

Example 13. Douze chants d'Anatolie, Ayın on dördü, measures 1-5. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The words Ay karanlık kim gördü? (The moon is dark—who saw what was happening?) and later bağlasalar duramam (The bindings cannot hold me down) are set in the lowest register of the voice to depict a darker sense of strict societal restrictions implied by the poetry. Another illustrative gesture presented in the song is an instance of bell-like chiming heard in the high register of the piano. This effect is drawn from the world of western culture and does not seem to depict any sound native to Turkey. The subtlety of the bells depicts a distant passage of time, a briefly chiming clock tower in the distance serving as an impressionistic reminder of a late rendezvous. A true leading tone is not present until the final measures of the piano postlude, producing a feeling of musical finality on a long E pedal tone. The lovers have now finally found a satisfactory place of repose in a night fully descended into darkness.

Example 14. Douze chants d'Anatolie, Ayın on dördü, measures 6-7. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

2.6 Song Number 6: Kozanoğlu

kozan o:lu Kozanoğlu The Son of Kozan Mountain tʃɯktɯm kozanɯn da:ɯna Çıktım kozanın dağına! I went up our Kozan mountain (I climbed Kozan mountain!) rɛmil at:tɯm dost ba:ɾɯna Remil attım dost bağrına! I looked at fate in the sand lover heart (I looked at the future of my lover’s heart in the sand!) aʃiɾɛtdɛn imdat olmaz aman amanɯm of Aşiretden imdat olmaz, aman amanım of! From the nomadic tribe help was not, Alas!, What now! Ugh! (No help came from the tribe, for God’s sake!) katʃalɯm kozan da:ɯna syrmɛlɪm aman ɛdalɯm aman Kaçalım kozan dağına sürmelim, aman edalım, aman! Let’s run away Kozan mountain my blackened eyes of kohl, Alas my coquette, Alas! (Let’s flee to the Kozan mountain, my woman with beautiful dark eyes, God!) kaɾa tʃadɯr ɛmɛ:ilɛ Kara çadır emeğile!

Black tent of great pains (The black tent which has troubled me so greatly!) kurʃun sɛsi dujmajɯlɛ Kurşun sesi duymayıle! Bullet noise do not hear (Do not listen to the sound of bullets flying behind us) ne jatɯjon kozano:lu aman amanɯm of Ne yatıyon kozanoğlu, aman amanım of! What to lie down son of Kozan Alas!, What now! Ugh! (Why are you lazy, doing nothing, son of Kozan? For God’s sake!) katʃalɯm kozan da:ɯna syrmɛlɪm aman ɛdalɯm aman Kaçalım kozan dağına sürmelim, aman edalım, aman! Let’s run away Kozan mountain my blackened eyes of kohl, Alas my coquette, Alas! (Let’s flee to the Kozan mountain, my woman with beautiful dark eyes, Alas!)

2.6.1 Deciphering Poetic Context and Meaning of Kozanoğlu The word Kozan in this poetry refers to a city located in the Adana province of Turkey. Kozan, with origins dating back thousands of years, is a city that was occupied at various times by numerous ethnic and political entities, including the Hittites, Romans, Arabs, Armenians, and Ottomans. The Toros Mountains rise abruptly from the surroundings of the city, and are likely the safe refuge where the speaker of this poem hopes to flee. In the middle of Kozan, a smaller local mountain is capped with ruins of an old monastery and castle. These spectacular ruins include many hidden underground archways, caverns and domes, which are an alternative possibility for the location of kozanın dağına (our Kozan mountain). Remil attım is an obscure reference to an old fortune telling practice of looking at shapes in the sand to interpret meaning. The word dost has multiple meanings in Turkish. Dost frequently refers to “friend” or “confidant,” but can also mean “lover” or “mistress.” The reader can thus infer that the developing relationship between the speaker and his woman was met with intense scorn by the Aşiret (nomadic tribe), a wandering people who shunned either the speaker or the lover. The speaker of the poem is infatuated by his lover’s beauty. Sürmelim (my blackened eyes of kohl) refers to the practice of darkening the edges of the eyelids, a tradition native to Arabia and Egypt. The kara çadır (black tent) is the most common form of traditional nomadic residence in Anatolia, and would have been frequently disassembled and moved along with the

31 migrating tribe as resources on the surrounding plateau became scarce for animal husbandry. It is with this temporary residency and seasonal limitation of time in mind that the speaker beseeches himself to flee heroically with his lover, even in the face of deadly retaliation. 2.6.2 Analysis of Musical Setting of Kozanoğlu The sense of distance and large space of the plateau is evoked by successive intervals of fourths in the introduction of this song. The extensive usage of fourths and fifths in the piano accompaniment reflect an essence of French impressionism—a world in which new and exotic sonorities are established by moving towards wider spaced combinations of intervals, often larger than a third (see Example 15). The piano is chiefly responsible for creating the musical atmosphere and mood, often in spite of the vocal melody, which remains dully pedestrian and stepwise. In addition to the evocation of the plateau, another layer of nature imagery is added in the second bar of the song. Rapid imitation of bird song, marked “comme un gazouillement” (like chirping), soars above the vocal line. An eerie juxtaposition of this imagery later occurs, when the bird song is set below the voice during the words, Kurşun sesi duymayıle! (Do not listen to the sound of bullets flying behind us). The soft chirping gestures take on an ironic character of distantly menacing gunfire.

Example 15. Douze chants d'Anatolie, Kozanoğlu, measures 1-2. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The first and second lines of text are each punctuated by a brief three-bar interlude in the piano, which seems to intersperse the weightiness of the speaker’s thoughts (see Example 16). Descending gestures in the piano move in simpler, sequential harmonies and strict rhythmic procession, indicating a resolute attempt by the speaker to find a solution regarding his fate with

32 the beloved. This ponderous descent in the piano leads to a sonority comprising two fifths, evoking possible resignation on behalf of the speaker. This fatalistic arrival is quickly transformed by a magical, major mode scalar ascent in the highest registers of the piano, marked imperceptible, which allows slight hopefulness to ensue like a distant echo from the mountains. As the speaker begins to focus his thoughts and form his course of action for dealing with the Aşiret, the music clarifies in texture and rhythm. The rapid bird song gestures from the previous bars alter to become passing tone figures connecting a stately up a fourth—down a fifth harmonic sequence, winding into the key of C major with rhythmic grandeur similar to the character of a French overture.

Example 16. Douze chants d'Anatolie, Kozanoğlu, measures 9-11. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Another piano interlude ensues, possessing dance qualities firmly rooted in major-mode and heavily embellished to sound defiant and heroic. The detached, rhythmic excitement of the piano seems to have stirred emotions in the voice, which, for the first time in the song, comes to life, reentering in a vigorous and passionate manner (see Example 17). The epiphany of the speaker arriving at the text Kaçalım kozan dağına (Let’s flee to the Kozan mountain!) corresponds to the voice’s fervor, set in a higher range and with faster rhythmic values. At the start of the word Sürmelim, the piano and voice make a shift away from modest folk-song modality into a more exotic collection of intervals, full of augmented seconds and arabesque figurations. This musical movement anticipates the presence of Sürmelim, the speaker’s term of endearment for his radiant and exotic beauty. The piano postlude concludes the mysterious dance, full of such chromaticism and haziness of color that one can easily get

33 swept up imagining the woman spinning and twirling against the backdrop of the caravan and remote plains.

Example 17. Douze chants d'Anatolie, Kozanoğlu, measures 8-23. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

2.7 Song Number 7: Köroğlu

køɾo:lu Köroğlu The Son of the Blind Man kodʒada baʃɯnda duman belɪrdɪ Kocada başında duman belirdi Very large summit mist appeared (A large, dense fog appeared on the summit of the mountain) kodʒa køɾo:lu da jinɛ delɪrdɪ Koca Köroğlu da yine delirdi The great son of blind man also once again became crazy (The great son of the blind man stirred up frenzy once again)

sevgilɪm gyzɛlim beɾi døn beɾi Sevgilim, güzelim beri dön, beri! Beloved, my beautiful near return here! (Come back near, my beautiful sweetheart!) gyl dʒɛmalɪnɪ sejɪr ɛdɪm baɾi Gül cemalini seyir edim bari! Rosy face of yours let me look at least! (Let me see your beauty at least!) tokat kervanɯndan aldɯm bakɪɾi Tokat kervanından aldım bakiri City of Tokat from the caravan I took untouched (I took a virgin from the caravan of Tokat)

ɪndʒitmɛjɛsɪnɪz gaɾip fakiɾi Incitmeyesiniz garip fakiri! Do not harm the stranger poor! (Do not harm the poor foreigner!) tuna seli gibi bas rakɯjɯ Tuna seli gibi bas rakıyı The Danube the violent flood of water like put raki (Pour raki like a violent flood of water from the Danube) itʃɪn arkadaʃlar afijɛt olsun Için arkadaşlar afiyet olsun (For friends bon appetite) (Drink my friends, enjoy yourselves)

2.7.1 Deciphering Poetic Context and Meaning of Köroğlu This song is based upon the Köroğlu destanı (Epic of Köroğlu), a legend that has survived in oral traditions throughout Turkic languages and lands since the 11th century C.E. Köroğlu, literally “son of the blind man,” is a heroic figure who stands up against injustice and wrongdoing while protecting the local people and tribes from harmful outsiders. An adventurous or even reckless sense of abandon embodies Köroğlu; his stories often include a mixture of romance, chivalry, and revenge, not unlike that encountered with Robin Hood in English folklore. In the first line of the poetry, a vast and hazy mist encompasses the entirety of the surrounding landscape, inspiring the secrecy needed for a spell of benevolent mischief that

Köroğlu has set in motion. The third line, Sevgilim, güzelim beri dön, beri! (Come back near, my beautiful sweetheart!), indicates that the speaker of the poem is now Köroğlu himself. Flirtatious intentions have gotten Köroğlu into a wild chase for a fair virgin, who is part of a traveling caravan located in the city of Tokat, near the Black Sea. Gül cemalini is an obscure, outdated phrase in Turkish, referring to the beauty of the face. The inclusion of the words garip (one living in a foreign land or far from home) and Tuna (the Turkish word for the Danube River) implies the likelihood that this woman of beauty is foreign or has been taken from distant lands. Köroğlu likely has noble intentions of saving this forsaken woman from the clutches of her captives, but obviously does not have completely selfless reasons for doing so. The comparison of the raging floods of the Danube to the pouring of rakı (the Turkish anise-flavored hard alcoholic drink) in the poetry exaggerates the scope of the reveling toast and merrymaking, to the extent that the reader is left without a doubt that this conquest has been entirely rewarded. The larger than life adventures of Köroğlu fulfill a deeply rooted heroic ideal, one in which justice, moral action, and happiness remain in equal partnership. 2.7.2 Analysis of Musical Setting of Köroğlu The character of Köroğlu is announced by a one-bar raucous introduction in the piano. Thundering drumming patterns in the left hand of the piano depict the great frenzy of excitement that is whipped up under the mists of the mountains (see Example 18). The piano’s detached introduction, marked “très vivant, très rythmé non legato” (very lively, very rhythmic and unconnected), is unashamedly masculine and valiant, displaying the qualities of persona so embodied in the epic of Köroğlu. Unpredictability of meter abounds in this song, shifting in various combinations of 7/8, 3/8, 5/8, and even an instance of 4/8, to produce an effect resembling capricious actions. The voice enters with the marking “à pleine voix” (at full voice), to compensate for the dense texture of the piano part. The pitch content of the vocal line is folk-like and remains completely within one modality. Although there are aspects of contour and emphasis of the vocal line that would suggest the key of D major, the vocal range is situated within an octave on the supertonic, moving from E to E. This strong preference for the second scale degree is continued throughout the song during key structural points of arrival and moments of cadence, revealing the possibility that the melody can be heard within the framework of a westernized dorian mode.

Example 18. Douze chants d'Anatolie, Köroğlu, measures 1-3. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Example 19. Douze chants d'Anatolie, Köroğlu, measures 10-15. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The piano part is especially responsible for the vagueness of tonality, embracing harmonic parallelism and a fast harmonic rhythm to such an extent that the musical language could be labeled as pandiatonic (see Example 19). Soft dissonances and non-harmonic tones are

37 often applied to the triadic-based accompaniment in a way which defies simple harmonic analysis. Nearly every instance of voice leading in the piano part is the result of parallel motion, creating a liquid texture and elusiveness which avoids remaining on one sonority for more than an eighth-note pulse. The forcefulness of this textural fluidity is an apt portrayal of the raging floods of the Danube and the uninhibited pouring of alcohol in the seventh and eighth lines of the poem. The piano develops a motivic idea at the onset of the song, which evolves to overpower the simpler constructed vocal line. While the voice certainly speaks the epic tale of Köroğlu, it is the piano that is most responsible for bringing his heroic character to life with frenzied rhythmic dances and breathless force.

2.8 Song Number 8: Yaylada

jailada Yaylada On the Mountain Pasture

jøɾyk dɛ jailasɯnɯ aman Yörük de yaylasını, aman! Yuruk too their high plateau, my! (The Yuruk are also in their mountain pastures, my!) jailajamadɯm imanɯm Yaylayamadım imanım! I could not spend the summer in the mountains, for God’s sake! (I could not spend the summer in the mountains for God’s sake!) divane gønlymy e:lejɛmɛdɪm Divane gönlümü eğleyemedim! Crazy mind was not to be entertained! (My crazy mind could not be entertained!) dijɛdʒɛk søzym aman Diyecek sözüm, aman! To say words my God! (To find the right words, my God!) søjlejɛmɛdɪm imanɯm Söyleyemedim imanim!

I could not say it for God’s sake! (I could not say what I wanted, for God’s sake!) jailamam jailada Yaylamam, yaylada I don’t spend the summer in the mountains, on the plateau (I don’t spend the summer in the pastures of the mountains) kar olmajɯndʒa Kar olmayınca! Snow when there is not! (When there is no snow!) itʃmɛm rakɯ ʃaɾap Içmem rakı, şarap I don’t drink raki wine (I don’t drink raki or wine)

jar olmajɯnca Yar olmayınca! Love where this is not! (Where love cannot be found!)

2.8.1 Deciphering Poetic Context and Meaning of Yaylada Yörük refers to nomadic shepherd people inhabiting the mountains of Anatolia and parts of the Balkan Peninsula. The cool, fresh air and verdant spaces of the yayla (mountain pastures) are a welcome sight for the Yörük, providing timely refuge and livelihood away from the oppressive heat of brutal Anatolian summers. It is on the plateau where the speaker searches in vain for that which he cannot find or utter. It is only in the last line of the poem that absent love, Yar olmayınca! (Where love cannot be found), is unveiled to reveal the true purpose of the speaker’s lament. Driven crazy with regret, he finds himself in a distracted state of mind, having missed out on the happiness and comfort on the plateau. Söyleyemedim (I could not say it!) is meant to imply that the speaker cannot articulate his love to a newly found beauty. He punishes himself by leaving the mountains, falsely blaming the lack of snow for the plateau’s inability to cool down his muddled emotions. Denying himself the comfort and escape of alcohol, the speaker does not come to terms with his problems, and the poem ends unresolved.

2.8.2 Analysis of Musical Setting of Yaylada The song begins with a canonic treatment of an accented melodic figure, treated in loose contrapuntal imitation within two layers of the piano part and the voice part (see Example 20). A carefree spirit embodies the music, marked doux et lié (soft and legato) to reflect the gentle landscape of the plateau. The modality used throughout this song includes scales or makams based on various tetrachords. The opening eight bars encompass the westernized mixolydian mode, and reflect a happy, hopeful character that is inherent in the first and fourth lines of the text : Yörük de yaylasını, aman! (The Yuruk are also in their mountain pastures, my!), and Diyecek sözüm, aman! (To find the right words, my God!).

Example 20. Douze chants d'Anatolie, Yaylada, measures 1-4. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The pitch content after these opening bars makes a sudden shift in modal color: the third and fourth scale degrees are freely altered, resulting in exotic-sounding combinations of intervals, such as an augmented second between A-flat and B-natural. A repetitive drone bass pattern in the piano now comes forward, articulating clearly for the first time the pulse of the song’s irregular 4/8-5/8 mixed meter (see Example 21). Several qualities in this section of music paint a lamenting effect fundamental to the poetry. These qualities include the change into a darker and more nebulous modality, the repeated stepwise descending contour of the vocal line, increased chromatic dissonances in the piano acquired by harmonic planing of triadic chords, and the sustained drone, which prolongs dominant harmony (on C) before moving back to an open sonority built on a fifth in the tonic (F-C). A particularly tragic moment in the music occurs where the piano finally alters the drone pattern to incorporate a possible modulation to the key of E-flat major, only to witness the vocal line sink back down in mournful despair in the tonic.

Example 21. Douze chants d'Anatolie, Yaylada, measures 9-12. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

A brief piano interlude/postlude ensues after the vocal melody finishes. The low drone, built upon an open fifth in the tonic, is continued in the piano while an eerie melodic imitation of the vocal line unfurls in pianissimo dynamic, marked “lointain et plaintif” (distant and doleful). The effect is hypnotic and saddening, illustrating the speaker’s echoing grief and regret on the plateau as an outlying memory.

2.9 Song Number 9: Ak koyun meler gelir

ak kojun mɛlɛr gɛlir Ak koyun meler gelir The White Sheep Comes Bleating ak kojun melɛr gelir Ak koyun meler gelir White sheep bleats comes (The white sheep comes bleating) da:laɾɯ delɛr gelir Dağları deler gelir Mountains pass comes (The sheep passes through the mountains) yaɾɪnɛ vefa bɛslɛjɛn Yarine vefa besleyen Lover fidelity having (Whoever has as faithful lover) gedʒɛji delɛr gelir Geceyi deler gelir

Night pass come (Passes through the night)

2.9.1 Deciphering Poetic Context and Meaning of Ak koyun meler gelir The words of this poem are simple and direct, and delivered with hopeful naiveté by a distant lover. Ak koyun (white sheep) has an additional meaning, possibly referring to a member of the Ak Koyunlu federation of white sheep Turkic people, who ruled the region of eastern Turkey during the late 14th to early 16th centuries. One of the difficulties in understanding the progression of the narrative is the presence of the aorist (simple present) tense in the first, second, and fourth lines of text. This grammatical tense is not used in the English language; it does not specify a time of the present, past, or future. The boundless nature of the words rings a timeless truth about love, suggested in meek imagery throughout the poem. Genuine love and faithfulness (best symbolized by the pure white color of the gentle sheep), passes undeterred through obstacles and difficulties (the mountains), even during times of darkness and doubt (the night). 2.9.2 Analysis of Musical Setting of Ak koyun meler gelir A lengthy piano introduction opens the song, set in the common Turkish mixed meter of 4/8-5/8 (2+2+2+3). The piano part is initially written on three staves in the first four bars to adequately depict three layers of counterpoint: a low drone based on a fifth (A and E), a descending step-wise succession of four triads in first inversion, and a rapid melodic line in the high register that possesses qualities of bird song (see Example 22). The heavily accented forcefulness of the lower two layers of texture contrasts with the open-air qualities of the high bird song, conjuring an effect of altitude difference, depicting imagery of mountains. A four-bar secondary musical idea is presented, moving away from the darker key of A minor into the momentary sunny brightness of D mixolydian. Rapid ornamental figurations adorn the simple melodic line in the manner of a kanun (Turkish zither instrument). In illustrative terms, this music foretells the appearance of the white sheep, timidly strolling through pathways in the valley pastures. The piano returns to the layered material of the opening bars, but the texture is now varied to be more forceful and dense, marked at one point martellato (hammered). The bird song melodic material is placed in the bass to combine with the drone, and the descending chords take on faster passing figuration and chromaticism. The uncertainty and dangers of the night have now cloaked the mountains.

Example 22. Douze chants d'Anatolie, Ak koyun meler gelir, measures 1-8. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Example 23. Douze chants d'Anatolie, Ak koyun meler gelir, measures 15-18. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The vocal entrance coincides with a shift to a suddenly soft and hypnotic trance in the music, reflecting the timeless aorist tense of the poetry. The piano repeats a soft drone figure in its upper register, remaining static while pulsing gently in quarter notes on an open, airy sonority (see Example 23). The minimal pitch materials of the vocal line also remain fixed on repetitions of several key tones, focusing on a long ranging descent down a fifth (E to A) over the course of

43 twenty-one measures of music. The piano repeats the course of the entire vocal line within its drone, as a canonic echo separated by three quarter notes. This subtlety may reflect the speaker’s distant echoes of truth and faithfulness upon the face of mountainous rock. A brief interlude harkens back to the opening four bars of the song, in order to separate the setting of the second half of the poem. The vocal line continues as an exact repetition of the previous section, but the piano accompaniment is now varied, creating a heightened sense of sentiment and color. The piano’s left hand drone pattern increases to embrace faster rhythmic values, while the right hand continues the canon with the vocal line, now displaced by one quarter note. The piano progressively incorporates bird-like trills and rapid melismatic flourishes into its texture, frequently moving in and out of canonic imitation in an effort to develop an enchanted sense of wonder and space. The magical delicacy of the musical texture is drawn into a hushed close, marked pianississimo, before the floating imagery of the night comes crashing to the ground during a return to the heavily accented last eight bars of the piano introduction. This sudden break in musical atmosphere can possibly be understood as the composer’s cold-hearted reaction of reality in face of the utter naivety of the speaker’s words.

2.10 Song Number 10: Sarı zeybek

saɾɯ zɛjbɛk Sarı zeybek The Blond Zeybek saɾɯ zɛjbɛk aman Sarı Zeybek, aman, Blond zeybek, alas (Blond soldier, alas!)

ʃu da:laɾa jaslanɯr aman Şu dağlara yaslanır aman These mountains (he) leans against alas! (He leans against these mountains, alas!) ya:mur ya:ar silalaɾɯ aman ɯslanɯr Yağmur yağar silahları, aman! ıslanır Rain rains weapons, alas! It wets (The rain pours down on the armaments, alas! It dampens everything)

44 bir gyn olur aman Bir gün olur aman, One day there is alas! (The day will come, alas!) dɛli gønyl uslanɯr aman Deli gönül uslanır, aman Crazy heart becomes well-behaved, alas! (The crazy heart becomes calm, alas!) yazɯk olsun tel:li dɛ do: ɾu aman ʃanɯna Yazık olsun telli, de, doğru, aman! Şanına! A shame be that as it may, strung like wire, and, true, alas! His glory and dignity! (It’s a great pity, if only! Truth is wound up like a wire, alas! His dignity is glorified!) iji bir bak mor dʒɛpkɛnin aman kanɯna Iyi bir bak mor cepkenin, aman! Kanına! Good one look purple his short embroidered jacket, alas! His blood! (Look well at his embroidered jacket, my god! His blood!)

2.10.1 Deciphering Poetic Context and Meaning of Sarı zeybek This poem is the only text in the entire set that appears to be derived from a recognizable common folk song, still known today throughout Turkey. The words serve as a reminder of the difficult beginnings Turkey faced in fighting for its independence against foreign Allied invaders, after the country was occupied following the Ottoman Empire’s defeat in World War I. This understated poem reflects the actions common people made in the name of sacrifice—a protective fervor waged for the sake of the welfare of greater nationalistic impulses. The word Şanına—meaning “dignity” or “glory”—in the poem marks the proud threads which forged a collective identity among Turks, and united them against improbable militaristic odds. The image of the blonde soldier conjures up a heroic ideal; the golden hair is likely symbolic of the rising sun radiating out upon the new beginning of a nation. The soldier props himself up against the heights of the mountains, standing tall and strong in the heat of battle, but he initially conceals his wounds. He is emotionally and physically afflicted as the result of the sky pouring rain and bullets. The line of text, Bir gün olur aman (There is one day, alas!), is cryptic and incomplete. One might wonder: has the day come for liberation and triumph? The poem never gives the reader a clear answer. The following line of text hints that the hero has fallen, Deli gönül uslanır, aman (The crazy heart becomes calm, alas!), as the madness and agony of war is met with a tranquil descent into noble death.

The final two lines of text are a bittersweet lament for the fallen, juxtaposing homage to those sacrificed in the act of war with the horrors of physical bloodshed. The phrase, telli, de, is an outdated phrase of unknown origin, that has no particular combined meaning in modern Turkish. One possible explanation refers to the tightening of a coil—a metaphor for the tension of emotional heartbreak. The closing words of the poem are imperative, urging the reader to “look well at the blood.” These instructions were obviously intended to remind the Turkish audiences never to forget that overpowering pride and sacrifice were vital in saving their nation. 2.10.2 Analysis of Musical Setting of Sarı zeybek This song, marked Largement (broadly), begins with an expansive, sustained piano sonority, which juxtaposes two blocks of sound against one another (see Example 24). A grace note pick up, comprising stacked fourths in the left hand, is elided via contrary motion into a bare root-fifth sonority. The stacked usage of open fourth, fifth, and octave intervals is a classic French Impressionistic sound. The voice enters in a freely rhythmic manner, marked à pleine voix (at full voice), indicating that the singer must use all of his or her forces to soar above the loud dynamic of the piano part. The vocal part remains declamatory throughout the entire song, repeating variants of the opening four bars a total of eight times. The piano thus takes on the greatest responsibility for creating a sense of narrative progression in the music, achieved throughout a variety of accompaniments, textures, and rhythmic and tonal shifts. After the initial chord dies away, the piano introduces a rising four-note motive in accented articulation, possibly to reflect the rising altitudes of the mountains on which the soldier leans. This motivic device is subjected to variations throughout the song; the subtle changes in rhythm and contour often reflect the narrative mood of the poem’s imagery. While the first two bars of the vocal entrance are clearly in G mixolydian, the following two bars shift into a darker G minor. The melodic contour of the vocal part momentarily teases the piano in a motion towards B-flat major, but a melodic cadential motion back to G minor is inevitable. The piano does, however, have a final say in harmonic matters, leading the music towards a motion into the major subdominant, an uplifting harmonic shift which hints at the narrator’s underlying reverent admiration of the soldier’s glorious actions.

Example 24. Douze chants d'Anatolie, Sarı zeybek, measures 1-4. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The third line of text in the poem, speaking of raining bullets and dampness, is reflected musically by the introduction of watery imagery in the piano part. The oscillating figurations, marked pianissimo and léger (light), alternate in rhythm between the two hands of the pianist to create a wondrous effect of pattering rain (see Example 25). The imagery of drenching rain is also echoed in the rapid glissando-like upward sweep in the piano part, which ushers in a cadential motion towards the first dominant harmony of the song. The third line of the poem is repeated, but the music is shaped by greater rhythmic activity in the piano part and increased dissonance between the voice and piano. A canonic imitation between the two parts ensues, but the piano dissonantly clashes with the voice, pitting for example the voice’s B-natural against the piano’s B-flat and similarly an F-natural against an F-sharp. The music grows agitated and bitter, evidenced by the left hand of the piano, which follows a steady stream of sixteenth and triplet-sixteenth notes before arriving at a cadence into

47 the darker key of D minor. For the first time in the song, the rising fourth motive comes short of full potential, leaving the listener left in dampened spirits.

Example 25. Douze chants d'Anatolie, Sarı zeybek, measures 9-14. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The fourth and fifth lines of text, speaking of the limitations of the day and the crazy heart gone calm, are set by a new musical device in the piano part. Two oscillating lines of accompaniment in each hand of the piano combines to create an impressionistic effect that shimmers like magical sunshine (see Example 26). While the poetry certainly seems to evoke the

48 process of death, a strong hopefulness and optimism is evident in the music, shown by the return of the rising four-note motive, soaring above the trills in the highest register of the piano.

Example 26. Douze chants d'Anatolie, Sarı zeybek, measures 15-16. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The sixth line of text, speaking of pity, truth, and glory, returns to the rhythmic drumming zeybek patter in the left hand of the piano that was utilized earlier in the song set. This device, marked forte and très rythmé (very rhythmic), evokes a triumphant and proud defiance of death, complete with a five-note ascending gesture of largely-spaced ninth-chords in the piano pitted against the descending contour of the vocal line (see Example 27).

Example 27. Douze chants d'Anatolie, Sarı zeybek, measures 23-24. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The final utterance of the last line of text, speaking of the embroidered jacket and the soldier’s blood, is sad and resigned, but the music does not seem to adequately depict the horrors of the words. The piano again attempts to follow the voice in canonic imitation, but the music seems lost and bare due to the arpeggiated accompaniment in the piano, which is reduced to

49 clipped, rolled chords marked arraché (torn away). The final cadence between the voice and piano ends inconclusively in the key of D minor. The piano alone concludes the song with a massive fifty-six bar dance postlude that seems to celebrate the beautiful life and actions of the efe soldier. The meter of the dance follows the typical zeybek dance pattern of 2+2+2+3, and is to be played with great vigor and rhythmic articulation. The form of the dance is a sixteen-bar theme, followed by two variations and an eight-bar coda. The first variation is notable for its motion into F major and usage of imitative counterpoint. The second variation harkens back to the double trill figuration heard earlier in the song, increasingly getting denser in texture through canonic imitation placed in octaves. The final coda (or half variation) is marked fortissimo and très fort (very strong)—a joyfully exuberant close of the rising fourth motive, set in widely-spaced parallel fourths and octaves.

2.11 Song Number 11: Çeşme

tʃɛʃmɛ Çeşme The Fountain ah tʃɛʃmɛsinin ystynɛ dɛ jatmalɯ jatmalɯ Ah! Çeşmesinin üstüne de yatmalı! Yatmalı! Ah! of her/his fountain on the top (added emphasis) must lie down (Ah! She must lie down on top of her fountain) sojunalɯp dɛrjalara katmalɯ katmalɯ katmalɯ Soyunalıp deryalara katmalı katmalı katmalı! Stripping off clothes the sea must add (She must strip off clothes to mix with the sea) ah seni alɯp dijar dijar katʃmalɯ katʃmalɯ Ah! Seni alıp diyar, diyar kaçmalı! Kaçmalı! Ah! to you taking land must flee away (Ah! To take you away, we must flee to the countryside) jandɯm kɯzlar bir su veɾin pɯnardan pɯnardan pɯnardan Yandım kızlar, bir su verin pınardan pınardan pınardan I burned girls, one water give from the spring (I am on fire, girls, allow me a drink of water from the spring)

2.11.1 Deciphering Poetic Context and Meaning of Çeşme In Çeşme (fountain) the speaker hints at his true intentions behind a veil of watery imagery and innuendo not meant to be understood on a literal level. Ottoman fountains were focal points of daily activity, designed to provide water for many purposes, including drinking, bathing, and washing clothes. The speaker in this poem watches women at the fountain from a distance, hoping that their impending nakedness will eventually result in his sexual fulfillment. Several of the words in the poem embrace a more suggestive depiction beyond their simple meanings. Deryalara refers to a sea or a large expanse, but in colloquial terms can refer to a “very learned man.” Katmalı is a form of the verb root katmak, which commonly means “to add or to mix,” but also is used to describe the mating actions between male and female animals. The speaker finally realizes his good excuse for approaching the fountain in the final line of the poem. The speaker’s travels lead him towards a needed drink from the fountain on a blistering, hot afternoon, but his true internalized intentions are quickly noticed by the women, who are too familiar with such scenarios to take the bait. 2.11.2 Analysis of Musical Setting of Çeşme This song was written under the spell of French Impressionism, perhaps more so than any other song in the set. The most probable influence on the abundance of fluid colors and sonorities in this song rests in the exquisite piano textures of Ravel and Debussy, both of whom excelled at writing works that focused upon water imagery. The piano part contains numerous indications in the French language, to assist the pianist in achieving a proper tone color, including avec fraîcheur (with freshness), bien enveloppé de pédales (well-enveloped in pedals), comme un murmure d'eau (like a murmuring of water), and expressif, concentré (expressive, focused). The piano opens the song with rapid, rising and falling gestures built upon the intervals of seconds as well as the pentatonic scale. The frequent usage of irregular divisions of the beat, such as quintuplets and quick grace notes ahead of the pulse, delivers a blurred rhythmic world that flows with great fluidity (see Example 28). The harmonic progression throughout is often not well-defined, incorporating quick shifts of chromaticism in the piano part which alter tonal expectations and allow for unpredictable points of arrival at cadences with the vocal line. Moments of pause in the music and text are portrayed with open sonorities—bare fifths and octaves in the piano—that evoke a momentary stillness in the murmuring of the fountain.

Example 28. Douze chants d'Anatolie, Çeşme, measures 1-4. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The vocal line speaks in the manner of a modest Turkish folk tune. The voice and piano seem to each embody completely different musical worlds. While the piano flows in a sophisticated fabric of ever-shifting sonorities, the voice eschews this intricacy in favor of great passion and excitement. The distinctive separation between these two musical forces represents the disconnect separating the speaker from the innocent watery world of the women and their fountain (see Example 29). The piano breaks off from its water music figuration only during the setting of the third line of the text, Ah! Seni alıp diyar, diyar kaçmalı! (Ah! To take you away, we must flee to the countryside), where it takes on the Turkish folk tune material in its lowest register. The sense of looking out onto the expanding flat landscape in the text is fulfilled over a long pedal tone G. The mumbling, repetitive nature of the melody in the piano evokes the speaker’s failed attempt at

52 displaying his manliness with a serenade. His tedious crooning in front of the women is quickly drowned out by the piano’s return to water figuration and noise of the fountain.

Example 29. Douze chants d'Anatolie, Çeşme, measures 17-20. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The final line of text, Yandım kızlar, bir su verin pınardan (I am on fire, girls, allow me a drink of water from the spring) is set over the exact repetition of the innocent murmuring music heard previously in the second line of text, Soyunalıp deryalara katmalı! (She must strip off clothes to mix with the sea), allowing one to assume that the speaker’s advances went unnoticed at the fountain.

2.12 Song Number 12: On ikidir, efeler

on ikidir ɛfɛlɛr On ikidir, efeler Twelve Efe on ikidir ɛfɛlɛr aman On ikidir, efeler, aman, Twelve, soldiers, alas (The twelve soldiers, alas)

ʃu boduɾun dɛ:irmɛni dɛ:irmɛndʒisi aman Şu bodurun değirmeni değirmencisi, aman! That short man the mill miller, alas! (That dwarf over there is the mill’s miller, alas!) uɾum dɛ:il ɛrmɛni Urum değil Ermeni Greek not Armenian (He is not Greek, he is Armenian) ja kɛndisi ɛfɛlɛr aman Ya kendisi, efeler, aman, Oh! himself, soldiers, alas! (Oh! He is all alone, the soldiers are here, alas!) ja kɛl:lɛsi gɛlmɛli Ya kellesi gelmeli, Oh! his head should come (Oh! His head should be cut off!) ai kaɾanlɯk aman Ay karanlık, aman! moon with darkness, alas! (The moon is dark, alas!) gøɾɛmɛdi izimisi Göremedi izimisi He couldn’t see of his tracks (He couldn’t find his way) ytʃ kardɛʃiz aman Üç kardeşiz aman Three brothers are we, alas!) (We are three brothers, alas!)

kurban gitsin biɾimiz Kurban gitsin birimiz The sacrifice should go one of us (One of us must be the sacrifice)

2.12.1 Deciphering Poetic Context and Meaning of On ikidir, efeler On ikidir, efeler (Twelve Efe) seems to be a real anomaly in comparison to all of the previous songs of the set. The words are bizarre and violently disturbing if taken literally, but if the reader interprets the possibility of the narrator’s clipped setting of the scene as a tongue-in- cheek attempt at bizarre humor, a certain amount of pleasant bewilderment seems guaranteed even among native Turkish speakers. The short storyline of the poem involves the narrator viewing twelve presumably Turkish soldiers making their way towards a short miller, who is Armenian. The darkness of the night sky has led the miller astray, giving another indication that he is foreign to the locale. The final two lines of text are the crux of the poem and are in need of further clarification. The dramatic utterance by the narrator of the text, Üç kardeşiz aman, (We are three brothers, alas!) likely refers to three main ethnic groups in Turkey at the time this poem was written: Turks, Greeks, and Armenians. In mentioning that one of the brothers must be the sacrifice, the reader is faced with an interpretive predicament. Is the narrator advocating for ethnic cleansing? Is the man on the run guilty for some crime or offence not revealed? Is the sacrifice a resigned attempt to justify the need for bloodshed against fellow countrymen during times of wild suspicion and political upheaval? Or is the narrator simply making an off-color jab at the prospect of a dwarf getting a little shorter after a run-in with the local authorities? Folk poems over time often accrue other meanings or lose some aspects of their original context and intention. The reader must come to his or her own conclusion where details and motives are scant. 2.12.2 Analysis of Musical Setting of On ikidir, efeler The musical setting of this final song is as idiosyncratic as the text. The composer looks to have pulled out all of his acquired compositional tools and techniques as a student in an effort to create a dense contrapuntal fabric worthy of an ending piece in a song set. The rousing result is frequently chaotic and heavy-handed—the notes themselves are frequently unplayable from a pianistic point of view, unless of course, the pianist was to possess a third hand! A Brahmsian orchestral palette comes to mind when hearing the piano part, with frequent doubling of lines at

55 the octave or in parallel thirds and sixths. One might even plausibly assume that the piano part was intended to be an orchestra reduction, especially since there have been numerous instances in this entire set of piano writing written beyond the scope and possibility of two hands. The opening of the song is curiously marked “avec fierté” (with pride). This indication truly seems at odds with the murder plot scene unfolding in the text, but accurately describes the thundering octaves in both hands of the piano part, which portray the masculine qualities embodied in not one but twelve efe soldiers (see Example 30). A mob mentality, evident in the text, rules the music, with three layers of incongruent musical counterpoint unfolding between the voice and piano. A 5/8-4/8 mixed meter is clearly defined and appears to be one of the few unifying forces between the voice and piano. The music lacks a clear sense of tonality. Modalic inflections in the piano part are hinted at in the key of D minor/mixolydian, but the vocal part defies this foundation, incorporating intervallic aspects of Turkish makams. After hovering in a contour suggesting F major, the voice clashes with the piano in pairings of B-flat against B-natural and E-flat against E-natural before following the piano’s lead to cadential resolve. The piano makes a subtle shift to the D major mode at the ending of the first section of the song, over the ending of the text Şu bodurun değirmeni (That dwarf of the mill) and later, Ya kellesi gelmeli (His head should be cut off!), perhaps indicating that this whole manner of brusqueness is made in jest. The next section of music begins in contrast, with a softer dynamic and legato articulation placed in both parts. A tonality based loosely on F ensues. The texture of the piano part gradually gets thicker and more active as the music swells to a climax marked détaché (detached) in the piano part. The degrees of chromaticism and instances of exotic-sounding intervallic patterns, including augmented seconds, allude to various Turkish modes (see Example 31). The vocal part concludes its part in the song with four varied utterances of an obsessive descending phrase, each with an increasing feeling of dread. The shifting chromatic lines and wide parallel writing in the piano part require the technical facility of a virtuoso, especially considering that the part is recurrently marked lié (legato). Within the density of so much musical writing lies a pared down harmonic foundation, consisting mostly of French-sounding seventh and ninth chords.

Example 30. Douze chants d'Anatolie, On ikidir, efeler, measures 1-5. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

Example 31. Douze chants d'Anatolie, On ikidir, efeler, measures 11-13. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The end of the vocal part is followed by the largest climax of the entire song set. A final thundering descent in bass octaves of the piano combines with a sweeping glissando in the right hand of the piano (see Example 32). The gigantic sonority on a D minor chord, rising to a fff dynamic marking, completes the two strongest and most potent phrases of the poem: “Urum değil Ermeni”(He is not Greek, he is Armenian)—and later—Kurban gitsin birimiz (One of us must be the sacrifice). The glissando motion seems to portray the swinging motion of the soldiers’ swords cutting off the poor miller’s head, suggesting to the listener that the composer took the words of the text literally, in utmost earnest.

Example 32. Douze chants d'Anatolie, On ikidir, efeler, measures 17-19. Reproduced by permission of Heugel SA (a part of Alphonse Leduc Editions Musicales).

The song ends with a piano postlude in the form of a folk dance. The F tonality of the second section of the song again prevails, but there is now a yearning sadness and clarity of texture that seems somewhat resigned from the wild frenzy of earlier music. One might wonder: is this a dance of death for the miller? The final bars of the piece take on forceful accents in each note of the piano’s left hand in a vein of mock seriousness. The music then suddenly slows down during the last two bars, landing on a big F major sonority—complete with an added French-sounding sixth scale degree. Regardless of whether or not the composer truly intended to place irony into the meaning of the poem, the listener is left with the feeling of satisfaction and peace, having been finally released from the tumultuous commotion of this song.

2.13 Conclusion

Each song of Douze chants d’Anatolie embodies unmistakable traits of rural Turkish music and culture, embedded within the framework of French Impressionism and mélodie traditions. Native Turkish elements of mode, meter, rhythm, and melody combine with a French harmonic palette that is strongly reflective of the themes and imagery of the poetry.

The composer’s free usage and imitation of native makam patterns help to incorporate a distinct regional and ethnic flavor of local instrumentation and timbre in the melodic content of the songs. The juxtaposition of exotic sounding Turkish patterns against the presence of simpler

Western modes creates a perfect setting for the poetry, which is often remarkably direct and simple while possessing a veil of complex and ambiguous meaning under the surface. The irregular additive metrical structure of many of the songs stem from native dance traditions, passed on by countless generations, which provide a context for understanding the uniquely

Turkish rhythmic and percussive devices throughout the work.

The vocal line in each of the songs is most often written with simplistic Turkish folk roots in mind. However, the composer’s insertion of improvisation-like embellishments in the vocal and piano writing gives evidence to the unwritten rural singing and instrumental traditions that are core to understanding the character and expression of Turkish monophonic music. The role of the piano in this work is designed to create a musical texture that comments on and furthers the unsaid and implied meaning of the text. A palette of impressionistic harmonies in the piano operates alongside numerous delicate layers of counterpoint to create an evocative mood and atmosphere in the music that reflect exotic imagery of native scenes, conflicts, and situations.

The song set includes recurring imagery that defines the locale and culture of the songs’ origins, including the desolation and desertion of open plains and plateaus, the echoing expanse

59 and hardened truthfulness of mountains, the gripping reverence for honor and loss of life in military battles and skirmishes, the actions of forbidden love undertaken behind the veil of secrecy and darkness, the worship of the legendary tale and quest for the perfect mythical hero, and unrequited love and rejection viewed as physical wounds and weapons. The masterful evocation of this imagery in the text and music brings together the musical worlds and traditions of France and Turkey in the early twentieth century, in a diverse work that should make a compelling addition to Western art song repertoire.

APPENDIX A

PUBLICATION INFORMATION AND ACCESSIBILITY OF SCORE

The music scores of art songs of the Turkish Five are enormously difficult to obtain. Several song sets exist only in manuscript form in private archives throughout Turkey, and others have been published but have long since been out of print. The study or performance of the classical art song genre as a native art form in the twentieth century is unfortunately grossly neglected in Turkey at this time. The score of Douze chants d’Anatolie is currently only published on-demand via advanced notice, and does not appear to exist in any publicly accessible library archive throughout the world. This work, originally published by Heugel Press, can now be purchased from Alphonse Leduc by communicating with either of the following contacts:

Alphonse Leduc - Robert King, Inc 140 Main Street North Easton, MA 02356 508 238 2571

Éditions Musicales ALPHONSE LEDUC 85, rue Gabriel Péri 92120 Montrouge 33 1 84 17 60 02

APPENDIX B

NOTES ON TURKISH PRONUNCIATION

The following is a list of letters which are additions to the Latin alphabet or differ in pronunciation from the English pronunciation of the Latin alphabet. Turkish, like French, does not incorporate strong accentuation into word patterns; stress therefore has not been notated in the IPA transcription of the poems.

TURKISH LETTER IPA SYMBOL EXPLANATION OF PRONUNCIATION

a a a as in father c dʒ j as in joke ç tʃ ch as in child e ɛ e as in red ğ none “soft g,” lengthens the preceding vowel j ʒ s as in measure i i i as in machine ı ɯ equivalent to a darker “schwa” sound, ə, as second vowel in nation ö ø eu as in French peu or roughly ur as in burn ş ʃ sh as in shoe ü y German ü as in über or French u as in tu

APPENDIX C

BIBLIOGRAPHY

SCORE Réchid, Djémal. Douze chants d’Anatolie. Paris: Heugel Press, 1927.

RECORDINGS Ece, Idil and Seher Tanriyar and Vedat Kosal. Cemal Reşid Rey 100. Doğum Yılı: Anadolu'dan Türküler ve Manzaralar. CD 330. Kalan. CD. July 4-7, 2004.

Korat, Suna, et al. Turkish Folk Songs. HCD 31454. Hungaroton. CD. 1982.

Levy, Gerardo, et al. Musica Mundana : A Musical Celebration of Turkish Polyphonic Music. Musica Mundana. CD. 2003.

TREATISES

Ahiskal, Mehmet Orhan. "An Analysis of Partita for Violin Alone, Op. 36 by Ahmed Adnan Saygun." University of Hartford, 2002. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/305449244?accountid=4840.

Bilgenoglu, Evren. “A Guide for Undergraduate Level Students to Perform Music for Solo Viola, Viola and Piano,and Viola and Orchestra By Turkish Composers.” Florida State University, 2008. http://etd.lib.fsu.edu/theses/available/etd-05102008-183522/.

Ederer, Eric Bernard. "The Theory and Praxis of Makam in Classical Turkish Music 1910- 2010." University of California, Santa Barbara, 2011. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/908611090?accountid=4840.

Gill-Gurtan, Denise. "Turkish Classical Music, Gender Subjectivities, and the Cultural Politics of Melancholy." University of California, Santa Barbara, 2011. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/908611095?accountid=4840.

Giray, Selim. "A Violinist’s Guide to the Music of Ahmed Adnan Saygun: A Biography of the Composer and a Discussion of His Violin Works with an Emphasis on the Suite for Violin and Piano." The Florida State University, 2001. In PROQUESTMS Theses & Theses @ Florida State University - FCLA; ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/304692833?accountid=4840.

Kragulj, Boja. "The Turkish Clarinet: Its History, an Exemplification of its Practice by Serkan Cagri, and a Single Case Study." The University of North Carolina at Greensboro, 2011. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/874382734?accountid=4840.

Signell, Karl Lloyd. "The Turkish ‘Makam’ System in Contemporary Theory and Practice." University of Washington, 1973. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/302729168?accountid=4840.

Taspinar, Ayse. "Identity and the Ottoman Empire: A Musical Synthesis at the Crossroads of East and West." University of California, Los Angeles, 2011. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/900575844?accountid=4840.

Woodard, Kathryn. "Creating a National Music in Turkey: The Solo Piano Works of Ahmed Adnan Saygun." University of Cincinnati, 1999. In PROQUESTMS ProQuest Theses & Theses (PQDT), http://search.proquest.com/docview/304509808?accountid=4840.

BOOKS

Aracı, Emre. Ahmed Adnan Saygun: Doğu-Batı Arası Müzik Köprüsü. İstanbul, Turkey: Yapı ve Kredi Kültür Sanat Yayıncılık, 2007.

Aydın, Yılmaz. İkinci Kuşak Çağdaş Bestecilerimizden İki Örnek: İlhan Usmanbaş-Nevit Kodallı. Ankara: Müzik Eğitimi Yayınları, 2010.

______. Türk Beşleri. Ankara: Müzik Ansiklopedisi Yayınları, 2003.

Başeğmezler, Nejat. Necil Kazım Akses: Cumhuriyetin Özgün Bestecisi. Ankara: Sevda Cenap And Müzik Vakfı Yayınları, 1993.

Çalgan, Koral. Ulvi Cemal Erkin: Duyuşlar’dan Köçekçe’ye. Ankara: Sevda Cenap And Müzik Vakfı Yayınları, 1992.

Gökalp, Ziya. Turkish Nationalism and Western Civilization: Selected Essays of Ziya Gökalp. Trans. Niyazi Berkes. Westport, CT: Greenwood Press, 1959.

İlerici, Kemal. Bestecilik Bakımından Türk Müziği ve Armonisi. İstanbul: Milli Eğitim Basımevi, 1981.

İlyasoğlu, Evin. Cemal Reşit Rey: Müzikten İbaret bir Dünyada Gezintiler. İstanbul: Yapı ve Kredi Kültür Sanat Yayıncılık, 1997.

______. İlhan Usmanbaş: Ölümsüz Deniz Taşlarıydı. İstanbul: Yapı ve Kredi Kültür Sanat Yayıncılık, 2000.

______. Müziğin Kanatlarında Söyleşiler. İstanbul: Pan Yayıncılık, 1992.

______. Necil Kazım Akses: Minyatürden Destana Bir Yolculuk. İstanbul: Yapı ve Kredi Kültür Sanat Yayıncılık, 1998.

______. Nevit Kodallı: Mersin'den Yükselen Çağdaş Bir Ses. İstanbul: Pan Yayıncılık, 2009.

______. Seventy-one Turkish Composers. İstanbul: Pan Yayıncılık, 2007.

Kolçak, Olcay. Cemal Reşit Rey. Istanbul: Kastas Yayinevi, 2006.

Levent, Necdet. Çağdaş Türk Müziğinde Dörtlü Armoni. İzmir, 2009.

Oransay, Gültekin. Batı Tekniğiyle Yazan 60 Türk Bağdar. 1. Basım. Ankara: Küğ Yayını, 1965.

Refiğ, Halit. Atatürk ve Adnan Saygun: Özsoy Operası. Istanbul: Boyut Yayın Grubu, 1997.

Say, Ahmet. Müzik Tarihi. Ankara: Müzik Ansiklopedisi Yayınları, 1997.

PERIODICALS

Altar, Cevat Memduh. “Prof. Ahmet Adnan Saygun’un Ardından.” Orkestra: Aylık Müzik Dergisi 210 (February 1991): 2-14.

Araci, Emre. “Reforming Zeal.” The Musical Times Vol. 138, No. 1855 (Sep., 1997): 12-15.

Markoff, Irene. “The Ideology of Musical Practice and the Professional Turkish Folk Musician: Tempering the Creative Impulse.” Asian Music Vol. 22, No. 1 (Autumn, 1990 - Winter, 1991), 129-145.

Meyer, Eve R. “Turquerie and Eighteenth-Century Music.” Eighteenth-Century Studies Vol. 7, No. 4. (Summer, 1974): 474-488.

Signell, Karl. “Aesthetics of Improvisation in Turkish Art Music.” Asian Music Vol. 5, No. 2 (1974): 45-49.

______. “The Modernization Process in Two Oriental Music Cultures: Turkish and Japanese.” Asian Music Vol. 7, No. 2, Symposium on the Ethnomusicology of Culture Change in Asia (1976): 72-102.

BIOGRAPHICAL SKETCH

Pianist Eric Jenkins is a native of Portage, Wisconsin. He holds a Bachelor of Music degree in piano performance from Lawrence University, where he studied with pianist Michael Kim, graduating magna cum laude in 2007. He served the university as an Accompanying Fellow during 2004-2007 and served as a rehearsal pianist for Lawrence Opera productions. Mr. Jenkins was awarded the Theodore Rehl Chamber Music Prize in 2005 and the Marjorie Irvin Prize in Piano Performance in 2006 and 2007. In 2007 Mr. Jenkins pursued graduate piano studies at the University of Calgary, Canada, studying under Marilyn Engle, and working as a graduate assistant in the departments of class piano and musicology. Mr. Jenkins was a winner of the Calgary Philharmonic Orchestra Concerto Competition, which resulted in his concerto debut, performing Benjamin Britten’s Piano Concerto with the Calgary Philharmonic Orchestra in their 2007-2008 concert season. Mr. Jenkins completed his studies at Florida State University in 2013, obtaining both Master of Music and Doctor of Music degrees in Piano Performance: Accompanying and Chamber Music, studying with Timothy Hoekman. In addition to working as a graduate assistant in vocal and instrumental studio accompanying, Mr. Jenkins has also worked as an assistant, coach, and pianist for the Florida State University Opera, and has also served as music director for the Florida State University Opera Outreach program. In the summers of 2010 and 2012 Mr. Jenkins was a répétiteur and staff pianist for the American Institute of Musical Studies in Graz, Austria. Mr. Jenkins has been active as a recitalist with numerous instrumentalists and vocalists. In the past Mr. Jenkins has performed extensively with violinist Burcu Göker throughout the United States, Canada, France, Turkey, and Cyprus, including a performance at Weill Recital Hall at Carnegie Hall in 2011.