Turkish Folk Music

TURKISH FOLK MUSIC Turkish folk music combines the distinct cultural values of all civilisations that have lived in Anatolia and the past territories in Europe and Asia. Its unique structure includes regional differences under one umbrella. It was the most popular music genre in the Ottoman Empire era. After the foundation of Turkish Republic, Atatürk made a wide- scale classification and archiving of samples of Turkish folk music from around Anatolia was launched in 1924 and continued until 1953 to collect around 10,000 folk songs. In the 60's, Turkish folk music met with radio and folk musicians like Aşık Veysel, Neşet Ertaş, Bedia Akartürk became the most popular names of the Turkish folk music. Folk music was a social product of people’s daily lives, combining the distinct cultural values of all civilizations that have lived in Anatolia. All the natural and social events experienced by the people are its subject, and are reflected in the variety in the musical forms, instruments, performers, and their social status. Folk songs always have a story behind them; be it a mother crying after her son is lost in the war, a lover in prison or a newly-wed couple fearing separation. They can have a very happy or a very sad tune. Usually, the accent gives away the origin of the song. Two main sources nourish Turkish folk music; Türkü singers and aşıks. Türkü singers perform the songs in all sorts of celebrations, special rituals, religious gatherings and funerals throughout Anatolia. As they sing over and over, they contribute different words and create new songs. Aşıks, on the other hand, mostly create music with their own lyrics. Usually their names are mentioned in the lyrics, and their songs don’t become anonymous. They play the saz, a type of lute, and semi-improvise around common forms. Most well-known aşıks are Karacaoğlan, Dadaloğlu, Köroğlu, Aşık Veysel, and more recently Neşet Ertaş. Other very important names in folk music inlude Erkan Oğur and Arif Sağ. Turkish Folk Music pieces are identifiable and distinguished by region. The regional mood also affects the subject of the folk songs. For example, songs from the Black Sea region are generally lively and express the customs of the region. Folk instruments range from string instruments such as the bağlama; bow instruments such as the kemençe; and percussion and wind instruments, including the zurna, ney, and davul. Regional variations place importance on different instruments, e.g. the darbuka in Rumeli and the kemençe around the Eastern Black Sea region. THANK YOU FOR LISTENING .

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