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The Matter of Polyphonic Music

In order to provide the effect of polyphonic Turkish music on our people, it was a matter of choosing the works that belonged to us in the first place and reaching a level that would make this music popular and explain it to the public. Here are the duties of Turkish composers. ATATÜRK relied on young artists who had studied music in the west for Turkish music to reach an advanced level. He will have heard many things from various poles about remedies. For this purpose, he invited our young composers from time to time, took their thoughts on this subject and evaluated them in his own mind. I think that they would have suggested, inspired by the folk music sources in the first dialect, to develop their instruments, to perform polyphonic processing and vocalization according to contemporary rules, and to orchestrate them with small and short pieces. This is understood from the words of ATATÜRK on this subject.

The important thing was to accustom the people to polyphonic music. We have always had a tendency to give low-level works saying, "This is how the people want it". It is a fact that whatever is given in abundance means that the people are compelled to adopt it. However, this attitude means helping the public want low-level artifacts. The artist, who is responsible for raising the pleasure level of the people, keeping it superior and never having to produce low-level works, will have the personality to lead education in a way. In this respect, especially musical works should be subjected to a high taste censorship. Here, it is an important duty of the real artist to determine the standard of pleasure of the people, to develop and raise the understanding and taste of art.

It is necessary to reach a sound understanding in line with the principles of ATATÜRK, which shines on the horizon of the road to polyphony with an order suitable for Turkish taste and understanding.

ATATÜRK: Unfortunately, no serious studies have been carried out on the way he pointed out as "Works that can measure the new change...".

ATATÜRK has pointed out on every occasion that we need new studies to reach a new era that takes the origin of a western-oriented understanding of Turkish music from its own culture and national values.

A nation that makes its own literature and music should sing its own emotions, its own excitement, its own tunes in its works. If he does not and does not use his own means, he cannot drag the society after him with the materials he will bring from outside, from here and there. It is a fact that a nation can survive, reach a modern level, and occupy an important place among the nations of the world only if it is loyal to and owns its national culture.

The artist is the one who reveals the delicacy of his art by making use of the tems he received from the creative source and folklore of the people, and the technical possibilities in an order and atmosphere suitable for the development and course of the civilized world. Of course, there is an obligation to keep up with the polyphonic music world and even the electronic music movement. Among the sources of innovation, there is also the use of folklore. Countries that have achieved the superiority of modern art in the Western world write at length in their musical histories how they benefited from public resources, how they applied the basic elements and principles that would ensure the birth and development of national breakthroughs on the path they took, with great care and meticulousness.


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