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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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Viewed As a Respective Metaphor for Old and New, Was an Enormous Challenge in Developing a Collective Identity for the Young Republic Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 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 Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY 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 By 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. ii 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. iii 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 iv 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 v 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 vi 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
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