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The Turkish music industry includes a number of fields, ranging from record companies to radio stations and community and state orchestras. Most of the major record companies are based in Istanbul's region of Unkapanı and they are represented by the Turkish Phonographic Industry Society (MÜ-YAP). [40]
Turkish folk music (Turkish: Türk Halk Müziği) is the traditional music of Turkish people living in Turkey influenced by the cultures of Anatolia and former territories in Europe and Asia. Its unique structure includes regional differences under one umbrella. It includes popular music from the Ottoman Empire era.
Miniature of dancers and musicians performing at a circumcision ceremony.Dated 1530 from the Süleymanname. While it is well established that Ottoman music is closely related to its geographical neighbors, namely Byzantine, Persian and Arabic music, [9] early histories of Ottoman classical music, called "mythologies" by Feldman, emphasize a sense of continuity, as opposed to a synthesis of ...
Turkish music history (3 C) I. Turkish music industry (4 C, 1 P) Turkish musical instruments (3 C, 38 P) K. ... Turkish tango music; Turkvision Song Contest 2013;
History of music in Turkey. Turkey portal; Music portal; Subcategories. This category has the following 3 subcategories, out of 3 total. D. Turkish music by decade (2 ...
Turkish music, in the sense described here, is not the music of Turkey, but rather a musical style that was occasionally used by the European composers of the Classical music era. This music was modelled—though often only distantly—on the music of Turkish military bands, specifically the Janissary bands .
The Turkish makam (Turkish: makam pl. makamlar; from the Arabic word maqam مقام) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (cinsler meaning genera) and melodic development (seyir). [1]
Turkish music theorist Ozan Yarman has proposed, for example, an academical 79-tone temperament for the expression within tolerable error-margins of Maqamat / Makamlar / Dastgaha at all pitch levels, that was implemented by the renowned late luthier Ejder Güleç (1939–2014) [12] on a Turkish kanun. [13]