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Let me try to summarize my thoughts in the light of the information I have provided under the title of MEMORIALS FROM ATATÜRK, especially in the light of ATATÜRK's understanding of music and his views.

Dr. A thinker named Karl Jansen says: "More than helping the development of aesthetic feelings, the moral force and influence of music is so great that there is an obligation to put it in a form that the masses of the people can understand and benefit from."

The truth expressed by this word is, first of all, the musical artist's superior talent, not only as a tool that keeps the ear pleasure above, but also his formal qualities, thought-provoking aspect, cultural vitality, vitality that can be a means of non-formal education and can be a means of non-formal education. . . . . . . . . . . . . . . . . . . . . . . . . . . You have to think with.

It is a known fact that a great synthesis of human communities and race is seen among the elements that make the characteristics of nations such as language, history, literature, every art, thought and emotion as the main source.

Great ATATÜRK felt this deeply, and with a deep understanding, they emphasized that we should have a western-oriented music in the face of this real appearance, provided that it preserves its national and communal character.

It is also a fact that no matter what branch of art it is, it wants to describe people and nature. In other words, he wants to benefit from the sounds, colors, shapes, motifs and lines in all of nature's existence.

Music, which has important elements such as sound, rhythm, and melody (according to the strength of the events that affect its burning), first of all, reflects the world of thought and emotion. Just as it is to adapt to changes, developments and innovations in art and to make use of this culture, in other words, to place these developments and innovations in this culture has a wider meaning in music.

In our opinion, this is the way that the great ATATÜRK showed and pointed to "as a measure for the new change in music...".

With these words, ATATÜRK emphatically emphasized that the western-oriented studies of real Turkish music will not be based on western incentives. Ignoring Turkish music, if ATATÜRK had lived within the easy and valid light musical fusions of western music, especially the evil movements that corrupt Turkish voices, he would probably have said much more heavily than what he said about Sarayburnu music, perhaps in the form of a definite directive.

Knowing the habits, history, culture, temperament and morality of the Turkish nation very well, ATATÜRK appreciates that there are examples that can be taken from the west in the fields of science and technology, but he does not allow a nation with a deep-rooted history and tradition in culture and art to degenerate with random and conniving western imitation and temptation. He was absolutely against it.

The great ATATÜRK, while putting forward solutions for the advanced level of Turkish music, also showed his greatness to evaluate many views and thoughts that he had listened to before. As a matter of fact, Dr. He patiently listened to Şükrü Şenozan's long words on Turkish music, described it as a conference, and said that he benefited from it. Accordingly, Turkish music should be polyphonic, harmony should be followed, but how should this be done_? The only solution is a polyphony that will suit the tonal structure of our music, especially the cultural vitality and spirit.

It should be used in favorable intervals (such as quartet, quintet, octet...) of our music, especially in the structure of our folk music.

Dr. These are the main remedies that Şükrü Şenozan suggests.

The important thing here, let's repeat, is not to touch the monumental works of Turkish music, and to preserve them with the subtleties of art, style and original values.

To revive the polyphonic elements in the structure of our music, to establish an order that will not be foreign to the Turkish ear, and to benefit from the technical possibilities of the form as a result of this preparation.

This means that our music, which shows a great delicacy in emotion and cultural vitality in art, will continue to be in turmoil in our music as long as we do not turn to works that can be a benchmark for new changes by making use of the convenient possibilities in its structure within traditional measures and rules in performance.

It would be beneficial to evaluate the views of foreign science and art members about our music.

"In these beautiful works (i.e. Turkish music) it is difficult to find the spirit that will give the music, delicacy and changing mood of the pieces. There is a performance style that starts and ends with the same tone and tone. This shows that Turkish singers lack the vision Artistique side."

This foreign view is actually correct. However, above all, it is an opinion put forward as an expression of the necessity of keeping the events affecting the structure of our music, especially the natural motifs, within the value criteria, with a performance order suitable for the movement and vitality of our music, especially our folk music. Since this is not done, the diagnosis of foreign views gains strength.

Let's remember the words of the great ATATÜRK, "Gentlemen, the culture of a nation speaks in the bosom of this small instrument you see. We must not forget that we have to keep up with the cultural and artistic movements and level of a nation and the national traditions, and that we have to keep up with the civilized world itself. importance and value should be given to development and evaluation in this direction.

The way is the way ATATÜRK showed. ATATÜRK has shed a light. There are many things to be done under the light of the torch he holds.

This illuminated path is realized by making Turkish music polyphonic with western techniques and methods, in regular harmony and counterpoint, in order such as fugue, with morphological weaves, and by working within the conditions of enlivening the national movements and nuances within its own structure.

ATATÜRK loved Turkish music, but he never said he didn't want this music to stand in its place. He believed that music could be a measure for new changes and that the way forward for advanced Turkish music would pass through this passage.

The great ATATÜRK strongly condemned these movements, aside from the fact that this work would be successful with trials that harmed the national spirit, national identity, national character, national upbringing and morality. His main ideal was to respect the national culture and the values of the society, and to carry out conscious studies that bring innovations that are based on technique and thus can be beneficial in terms of ear training.

He knew that successes could not be brought forward by random or by some stray currents, which were bottomless, baseless, devoid of national enthusiasm, with surface studies and trials.

First of all, ATATÜRK has pointed out on various occasions that effective and non-formal education tools such as radio, television and records should reach a level that can determine the music they will give to large public groups, starting with schools.

In the face of the fact that in order to comprehend the high art of the West, a broad culture and advanced understanding of art is needed, since it is actually the main duty of the state to prepare this environment, first of all, the state, first of all, will provide the public groups whose ears are filled with their own music, by saving this value of music from the corruption in the market. it has to eliminate the poor quality in the mouth.

It is possible to deduce from the words of our ATATÜRK that it is possible to create an environment that will benefit from the real art music and folk music literature, which is the main source of innovation in Turkish music.

While determining the main principle and moving to the music policy of the state, it is necessary to mention some critical points in parallel with the thoughts of the great ATATÜRK.

It is in the square with the works of art that the Turkish nation has the power to succeed in every field and created in its history.

Great ATATÜRK explained every success with this virtue of Turkishness, sensitivity and integrity of heart. He uttered the phrase "HOW HAPPY TO THE WHO WHO SAY I AM A Turk" with this richness of emotion and integrity of heart.


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