The author monitors the mutual musical influence of Arabs and Turks (Al Jazeera)

Music is a reflection of life and the form of thinking, and in it appeared reflections of the close acquaintance of Arabs and Turks, and of each being influenced by the other.

These two ancient nations coexisted for centuries in many regions, from southern Anatolia to Egypt, and from Iraq to Lebanon, where they influenced each other musically.

In his book “The Unity of Arabic and Turkish Music in the Twentieth Century,” recently published by “Al-Kalima Publications” for translation, translated by Malak Deniz Ozdemir and Ahmed Zakaria, Turkish researcher Murat Ozeldirim traces the history of mutual influence between Arabs and Turks, who lived together for 400 years.

It should be noted that the Turkish origin of the book appeared in 2013, and it traces the history of mutual musical influence and influence between the Arab and Turkish cultures, since before the establishment of the Ottoman Empire.

The researcher points out that the interaction between Arabs and Turks, during the last century, was based on Istanbul, which influenced many Arab countries musically. Istanbul was also influenced by Arabic music, and this influence is proven by the similarity of Arab and Turkish maqams and musical instruments.

Özeldirim deals with the issue of Mustafa Kemal Ataturk’s ban on classical Turkish music on the radio, the Turks’ reactions to that, and their attachment to the voices of Muhammad Abd al-Wahhab and Umm Kulthum. This led to the exchange of trips between Arab and Turkish singers, as Abduh al-Hamouli, Munira al-Mahdiyya and others visited Istanbul, in addition to the trips of musicians. Turks to Arab countries.

Continuous links

The author says that oriental music, which is performed with the same maqams by Arabs and Turks, appeals to the general musical taste of Arabs and Turks. The performance of the same songs, in Turkish and Arabic, is one of the evidences of this general taste.

It monitors the course of musical relations in the last years of the Ottoman Empire, and reminds us that Arab and Turkish musical relations also continued after the establishment of the Turkish Republic in 1923.

Translators Ahmed Zakaria and Malak Deniz Ozdemir (social networking sites)

The author believes that the complete rift between the Arabs and the Turks on the musical level did not occur. One of the most prominent artists of that time was Zaki Müren, one of the icons of Turkish singing during the last century, as he never hid his influence by Arab icons such as the singer Umm Kulthum.

The author also mentions some names of Turkish artists who participated in the conversation about Arab-Turkish musical relations, including: the painter Javidan Yül Arten, Nazif Akşerli, Sabiha Nazli Kalali, and Fakhr al-Din Aregali. Ozyildirim talks about the artistic and personal friendships that brought together Arab and Turkish artists such as Berihan Altindag Sozeri and Munir Nur al-Din Selcuk.

The book's translator says, "The borders drawn by Westerners in the twentieth century cannot eliminate the cultural accumulation between Turks and Arabs."

She added in her interview with Al Jazeera Net, "Despite the change in the nature of relations between the two nations after the collapse of the Ottoman Empire, music stands in the middle as an artistic branch that brings together works that both communities listen to with the same feelings."

Interaction between two cultures

Given the close historical ties between Arabs and Turks, the writer considered that they are the true owners of the Middle East, as two peoples who have lived together for more than a thousand years and are culturally very similar.

The author discussed the development of the art of singing in the two nations, their interaction in classical music, and the relationships of the artists with each other, especially the late 19th century until the end of the 20th century. He mentions that the real Turkish interaction and influence, which appeared strongly on Arabic music, began during the era of the Seljuk state (1037). -1194).

He confirms that for this reason, with the Seljuks dominating Baghdad in the middle of the 11th century, it became known that Turkish music had an influence on Arabic music.

The author points out that Turkish music was also influenced by the music of the Arabs and other groups, and it is known that Sultan Murad IV (1612-1640) - returning from his campaign against Iran - brought musicians with him from Baghdad to Istanbul.

Music also developed during the reign of Sultan Mehmed IV (1642-1693 AD). Artistic friendships have developed between Arab and Turkish musicians.

Speaking to Al Jazeera Net, the translator said, “Friendships were the reason for musical interaction between Arabs and Turks, which appeared, for example, in the relationship of Turkish musician Munir Nour El-Din Selcuk with Muhammad Abdel Wahhab, in addition to his musical relations in the Arab world in general. Selcuk played an important role.” In musical relations between Arabs and Turks.

Historical unit

The writer shows that at the beginning of the 20th century, Turkish and Arab peaceful coexistence became within the framework of historical unity. According to the author, this influence strengthened cultural unity and relations between them.

He emphasizes that classical Turkish music was influenced by the strong musical traditions of Iran, the Greek Orthodox Church, the ancient Syriac Church, and Arabic music. The author believes that the expansion of the empire's borders brought a common or similar musical taste among nations living under the same rule.

According to the author, this is why Turkish, Greek, Armenian, Jewish and Arab composers, singers and theorists remained, for centuries, within the framework of deeply rooted Ottoman music.

The story of the ban

The author says, shortly after the proclamation of the Republic, teaching oriental music in Turkey was facing many difficulties.

According to the researcher, the most prominent incident is the ban on broadcasting classical Turkish music on Turkish radio. At a famous concert held in Istanbul on the night of August 9, 1928, Ataturk (1881-1938) was invited to the Saraya Bornu, in which the famous Egyptian singer Munira Mahdia (1835-1965) and her band performed Arabic poems and songs on the stage. In addition to a Turkish band, and a foreign band performing jazz music.

The author shows that the Egyptian singer paid tribute to Ataturk, then began performing a selection of her famous songs, including a song that Ataturk loved to listen to when he was in the Fifth Army in Syria between the years (1905 and 1906). Most interestingly, she sang a poem praising Ataturk, for which she received a loud applause from the audience. After the ceremony, Ataturk invited Mahdia and advised her to learn Western music, saying, “With this voice the whole world listens to you, may your fame be complete.”

Western model

The author says that in early November 1934, the topic - which Ataturk mentioned in the opening speech of the fourth legislative year of the National Assembly - was like an official victory for fans of Western music, as Ataturk announced the shift to the Western style of music.

Regarding the orientation of some Turkish intellectuals to Western music, the author says, “Some intellectuals, who followed the Western model, wanted to insult classical Turkish music at every opportunity.”

Speaking to Al Jazeera Net, he added, "Turkish music was never the music that was only listened to in bars." He continues, "This discourse remains merely a tool used by Westernized intellectuals to criticize and belittle Turkish music."

On the morning of November 2, 1934, the Turks woke up to shocking news, stating that Interior Minister Shukri Kaya had issued a circular banning the broadcast of oriental music on radio programs completely, and broadcasting only musical pieces played in the Western style.

The author says in his speech, “The Turkish audience did not interact with Western classical music that was constantly broadcast on the radio, and began to follow the broadcast of Egyptian radio, which frequently showed the works of Turkish composers such as Masoud Jamil Bey in those years.”

He added, "The Turks resorted to Arab radio stations that broadcast the music they felt closest to. Although they do not understand the language, the styles of compositions and instruments used are the same as Turkish music."

unblock

The writer says that the ban on classical Turkish folk music was lifted 7 months later on September 6, 1936. Ataturk stated the following some time after the decision to lift the ban: “Unfortunately, they misunderstood my words. I meant that we must find a way for them (Westerners) to listen.” "To the Turkish musical compositions that we listen to with joy. I did not say that we should get rid of Turkish melodies, but let us take the music of Western countries and make it our own."

In his speech, the author believes that “Turkish-Arab musical relations will become stronger through comprehensive research and remembrance of the accumulation of layers of the past.”

Source: Al Jazeera