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Unison Choir System in Classical Fascism

Today, the richness of a thousand nuances and the (conductor) management style, which foresees a change in the unison choir order, which is considered a new development in the historical tradition of Turkish music, in the classical dialect, manner and style, brought more or less vitality to the performance. This system, which was implemented by the late Mesut Cemil, has been developed and the intermittent movements performed only on instruments are described as a step towards polyphony, but it is also possible to apply this movement to sound groups. For example, grouping them with suitable intermittent voices (la-mi-la-re) suitable for male and female voices, giving place to marches and solos in the meantime by keeping the infusion on the decision pitch, small canon trials and suitable Executing the (tems) at the same time will not contradict Turkish taste and understanding, on the contrary, Turkish ears will show interest in polyphony. In our opinion, these essays will lead to new works in reaching a new era at the contemporary level by making use of the culture and art delicacy of Turkish music itself. Because, neither the mouth, nor the taste, nor the environment remained to make music according to the understanding and taste standards of yesterday. The meşk style, which used to beat the knees and prioritize the pleasure of the ear, the dialects that the ancients called (fem-i muhsin) have disappeared today, and this type of work has left its place to the notation system and the chorus system.

An important issue here is that the executive committees work in a customary, specific chapter order and with a limited repertoire. In our opinion, the first thing to do is to enrich the Turkish music repertoire and to focus on new and continuous researches in it. Of course, these researches are not just about expanding the repertoire. It is an investigation of the true values of Turkish music and its criteria for development. Executive committees can realize equivalent programs that can make new changes only through research activity. In solo and choral works, resisting in performing with certain stereotypical programs has lost its validity. This is a situation that hinders the development of art and that the artist should be very cautious of.

I mentioned an unfortunate side of our music. This is the conflict between the various musical movements, especially the Alaturka-Alafranga conflict, as we have mentioned before, which has led to differences in taste and understanding. Therefore, an environment and system that will guide our musical existence has not been realized. Unfortunately, Turkish music is harmed by this attitude and conflict, which is caused by the negative attitudes of a conservative group belonging to Turkish music, based on no basis, against western music with a bigotry, and the contempt of the members of western music as a narcotic art in the monophonic atmosphere of Turkish music.

It is not a job to despise an art that keeps history alive. Turkish music has gone through glorious ages. In the times when the Turkish mehterhane was just beginning to spread, the western world was in awe of this magnificent music. The Turks were the first to introduce music into the war. Advanced Turkish music must remain faithful to its history and its past values, so that Turkish national music can take the place it deserves. In other words, music that does not carry the Turkish spirit and culture does not mean anything to western societies.

Of course, it is a great injustice to try to separate a glorious music that has been going on for centuries from its national values. However, it is equally unfair to despise western music. It is a necessity of our civilization level and understanding to love Western music, to accept the existence of high art, to benefit from its true values.


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