MUSICULT ‘15 ŞERIF MUHIDDIN TARGAN: AS THE ACTOR AND INDICATOR OF MODERN COMPOUNDS Bilen Işıktaş Lecturer, Istanbul University, Musicology Department, bilen.isiktas@istanbul.edu.tr Virtuosity is regarded as one of the concepts with no equivalence in the performance tradiion of Turkish music. In Otoman music, human voice was essenially at the core of performance while saz (instrument) performance developed as accompaniment. It is not arbitrary to observe the reference of human voice as the most developed, tamam (inished) instrument in music texts whereas instrument is referred to as na-tamam (incomplete). For makam music in which the skill of improvisaion is regarded as a signiicant criterion in performance, human voice pushes the limits with a mastery of pitch, agility and technical music; while instrument music and performance remained subordinate. A skilled accompanier should not be tempted to rival the vocal and should create a musical impact without standing out too much. For instance, musicians who are good accompaniers in Arabic music are described with the term tevrîk, where the essenial quality lies in the soloist accompanied by the instrumentalist avoids producing a technically more complex or ornamented melody. 1 Meanwhile in Western music, the developments in the 17th century paved the way for the birth of new music. Major and minor scales replaced church music. Counterpoint was replaced by harmonic music, with developments taking place in the producion of instruments. As new forms appeared in instrumental music, virtuoso instrumentalists and singers became prominent igures in the music world in Europe.2 Especially with the dawn of the Romanic period, performers started to not content themselves with what the composer ofered them and developed a new approach to performance in which they could demonstrate their talent in a way that even challenged the composer. While the composer freed himself from the obligaion to entertain the audience with his technique and interpretaion, the performer became a virtuoso and emerged as the master of great sounds, the absolute ruler of the music world, in the words of Finkelstein. Such a performer therefore turned into an individual that performed a ritual of heroism almost overshadowing the composer in the eye of the audience.3 Technical talent was integraing with the individual talent and creaivity of the performer, serving the development of new playing techniques and methods while pushing the limits of the instrument. Such was where stood violinist Niccola Paganini who tore of three strings of the violin and played with the fourth string or the pianist Franz Liszt who charmed the audience with his variaions on renowned opera arias. The phenomenon of modernizaion created the individual, which had an impact in the development of virtuosity. In a world centered around the individual that 1 Ali Jihad Racy, Arap Dünyasında Müzik: Tarab Kültürü ve Sanaı, çev. Serdar Aygün, İstanbul 2007, s. 129. 2 İlhan Mimaroğlu, Müzik Tarihi, Varlık Yayınları, İstanbul 2012, s. 37. 3 Sidney Finkelstein, Müzik Neyi Anlaır, çev. M. Halim Spatar, Kaynak Yayınları, s. 69-70. 39 MUSICULT ‘15 rose out of modernizaion, virtuosity can be deined as a special situaion in the perspecive of the performer who reproduces music and individualizes himself in spite of music. This is where the style of individualizaion and the aitude in the output come to the forefront. It should be duly noted that virtuosity is not only related to technical agility or musical plays with which it is oten confused. This aitude has an expressionist style that goes on a par with the process in which the performer is allowed to make a show of talent in what could be deined as market music as well as the commodiicaion of music. It is without a doubt that this aitude is the consequence of the need to ofer music to the appreciaion of the masses and an emphasis on visual quality rather than listening. In brief, virtuosity means further than a technical show or mastery of the instrument. Contrary to popular belief, agility and show have a limited impact in virtuosity, which therefore has litle chance to of marketability. As is stated by Öğün as well, thanks to his virtuosity, the musician enables the music to re-emerge in a pure and direct form in an age which tradiions of music are destroyed in the process of modernity and become rapidly socialized. This is an enirely spiritual or introspecive state. The composiion is almost recomposed in performance. According to the same view, the virtuoso creates new meanings, shades and nuances within the exising pariions, thereby alluding to lost tradiions and defeaing alienaion. 4 What could be regarded as equivalent to virtuosity in Turkish music tradiion is embodied in Tanburi Cemil Bey at the turn of the twenieth century. Agility and switness in performance, creaion of unfamiliar sound compounds and the search to come up with new tunes are irst revealed by Tanburi Cemil. He is also the irst to demonstrate a freer and lyrical approach to pariion, which was irst found strange but was later adopted and spread by his followers. However, he manifested his virtuosity in gramophone records and did not leave a method or other work. The arisic performance he demonstrates for the audience in his records is considered as models. Although he developed the tanbur technique, he didn’t have enough ime to produce a work out of that development. 5 Following Cemil Bey, the most important igure in virtuoso performance in instrumental music is Şerif Muhiddin Targan. Both in terms of his autobiography and his contribuion in oud in Turkish music performance and composiion, Şerif Muhiddin Targan could be regarded as the ideal counterpart to the concept of virtuosity in Turkish music. Şerif Muhiddin was born in Istanbul in 1892. His father was Şerif Ali Haydar Paşa, appointed as Emir of Mecca by the Otoman government in 1916. Targan’s lineage went back to Prophet Muhammad and enjoyed a reputable posiion in the Otoman high culture. From his childhood, he received quality educaion in a colorful social environment.6 The educaion of Muhiddin Targan was mostly based on homeschooling within the family and private tutoring. He especially learned philosophy and religious maters from İsmail Hakkı İzmirli. His family played a substanial role in his private tutoring 4 Süleyman Seyi Öğün, “Türk Müziğinde Bireyselleşme ve Tanburi Cemil’in Virtüözitesi”, Türk Poliik Kültürü, Alfa Yayınları, İstanbul 2000, s. 438. 5 Cem Behar, “Geleneksel Türk Musikisinde Virtüözlük Kavramı ve Uygulamaları”, Zaman, Mekân, Müzik: Klasik Türk Musikisinde Eğiim, İcra ve Aktarım, Afa Yayınları, İstanbul 1992, s. 107-108. 6 Babası Şerif Ali Haydar Paşa hakkında bkz. İsmail Hakkı İzmirli, Mekke-i Mükerreme Emirleri, Türk Tarih Kurumu Yayınları, Ankara 1972, s. 144-145, 40 MUSICULT ‘15 given by the leading masters of the period. He learned English, French, Arabic and Persian at an early age to the degree that allowed him to read the masterpieces of Eastern and Western cultures. He completed his higher educaion successfully in two diferent faculies. He graduated from both Literature and Law Faculies in ive years. 7 The house of Şerif Ali Haydar Paşa in Çamlıca, referred to as the Şerifs Mansion, was a popular spot for the intellectuals and arists of the age. It was within this cultural atmosphere that was irst discovered Targan’s interest in music. He irst started to work on oud secretly but when his family took noice of his keen interest in music, Targan started to receive lessons from major masters of the age. Musicians who came to Şerif Mansion included Kanuni Hacı Arif Bey, Ahmet Irsoy as well as Ali Rifat Çağatay who played a major role in his training. The guests of the Mansion where the cultural memory of Targan took shape also included prominent performers in Western Music. Music by Godowski and Hungarian violin virtuoso Charles Berger also echoed in the halls of the house. 8 Most probably as a result of the said atmosphere, Targan started playing violoncello at age 13, encouraged by his uncle. He then started to receive lessons from Monsieur Riki. The cello repertoire included works by composers such as Debussy, Ravel, Bach, Locatelli who later made into his own repertoire. These works were not easy to perform, which was a result of the good educaion and genius of Şerif Muhiddin. Cosmopolitan idenity and culture played a determinant role in the formaion of Targan’s music and his idenity as a modern performer. The heritage of a society thrown of balance between the East and the West since the Tanzimat period nourished his arisic talent. Targan emerged as one of the rich portraits of the 19th century, the longest century in the history of Otoman Empire, as is pointed out by İlber Ortaylı. The Empire was going through an economic crisis, fought wars in 1908 and Tripoli and Balkan Wars in later years with the eventual outbreak of the World War I, the reason behind major crises. The social condiions that rose out of this poliical climate gave birth to a virtuoso, Şerif Muhiddin, who found himself in limbo (âraf).9 What was it that disinguished Targan from the oud players that preceded him or his contemporaries? It is known that Istanbul did have renowned oud players who demonstrated their skills with agility. Sermet Muhtar Alus speaks of Afet whom he states that was a part of the Kemani Tatyos band that gave oud lessons in mansions: He is one of the leading masters. When he grabs the oud as a toy, the plectrum as an acrobat, he plays so well that you cannot even see the eagle feather in his ingers. I have never seen and will probably never see anyone else in my life with such a good command of his instrument.“10 This quote indicates that Afet had substanially matured in technical terms. 7 M. Hakan Cevher, Şerif Muhiddin Targan: Hayaı-Besteciliği-Eserleri, Ege Üniversitesi Basımevi, İzmir 1993, s. 2-3. 8 Mithat Cemal, Mehmet Akif, Türkiye İş Bankası Yayınları, Ankara 1986, s. 187-188, Emin Erişirgil, İslamcı Bir Şairin Romanı, Türkiye İş Bankası Yayınları, İstanbul 1986, s. 66-67. 9 Bilen Işıktaş, “The Innovaive Nature of Şerif Muhiddin Targan’s Music”, Internaional Journal of Turcologia, vol. VIII, n. 15, Spring 2013, s. 43-53. 10 Sermet Muhtar Alus, İstanbul Yazıları, Haz. Erol Şadi Erdinç-Faruk Alıkan, İstanbul Büyükşehir Belediyesi Kültür İşleri Dairesi Başkanlığı, İstanbul 1994, s. 191. 41 MUSICULT ‘15 What factors determined Şerif Muhiddin’s consideraion as a virtuoso and not instrumentalists such as Afet who charmed the listeners? This report seeks to answer the quesion and to interpret the virtuosity of Targan. In referring to virtuosity, Cem Behar indicates that virtuosity gains coninuity out of instrument teaching methods and exising repertoire of pieces in addiion to pracical performance techniques. Coninuity in virtuoso performance depends on three elements: 1) Special teaching methods in training virtuoso performers, 2) Special instrument performance techniques, and 3) An instrument repertoire that enables the demonstraion of virtuosity skills. These three interdependent condiions combined and developed virtuosity in Western music.11 The term virtuoso used in reference to Şerif Muhiddin’s idenity as a performer, his works and his legacy is not a general term but is equivalent to what it stands for in Western terminology. 12 The elements Behar regards fundamental in coninuity in virtuoso performance are directly found in the arisic career of Targan. Şerif Muhiddin gave concerts in New York Town Hall in 1928 and was regarded as a virtuoso performer in music circles. During these concerts, Targan performed classical pieces not only with oud but with violoncello as well, one of the basic instruments of Western music, thereby joining Eastern and Western music on stage. Targan brought Turkish music in the concert hall with a modern presentaion style outside his repertoire and established an understanding of recital. This performance symbolizes a transiion from an understanding of music performed in houses and mansions, played within a tradiion of exercise in small circles; to one which is put on stage and is performed before an audience. Turkish music from then on was posiioned in a level that targeted concert halls and the masses. Needless to say, this aitude by Targan is diferent from the world of the tradiional musician. The musician here turns into a performer whose existence alone as a modern actor is conirmed on stage. Actually, this substanial transformaion manifested by Targan in New York in 1928 was going to be repeated in Istanbul in 1931 by Münir Nurein who received voice training in Paris. The tradiional mutrip or muganni now became a soloist performer. Approaches to costume, concert venue, repertoire and performance undergo changes with the impact of modernizaion, with new styles and forms developing as a result. Individualizaion, on of the most decisive consequences of modernizaion was an important quality in Targan as a performer. Individual performance or soloism is at the core of Şerif Muhiddin’s arisic producion and performance. Unlike other instrumentalists of his age, he did not join oicial or private singing socieies. He chose to become a soloist that pushed the limits of his instrument, rather than an accompanying instrumentalist. The repertoire of Şerif Muhiddin Targan is actually relecive of his rich musical idenity. Targan closely studied the musical tradiions of the East and the West and acquired an idenity with a command of both repertoires, able to perform competently in both. Indeed, his alteraion between musical tradiions is the secret to his technical talent. Playing violoncello afected his handling of the oud and even the design of the oud touché, which contributed to the development of technical 11 Behar, age., s. 85. 12 Tuğrul Hocaoğlu, “Klasik Türk Müziğinde Enstümantal İcra ve Virtüözlük”, Musıkişinas, Boğaziçi Üniversitesi Türk Müziği Klubü Yayını, İstanbul 1999, sayı 3, s. 67. 42 MUSICULT ‘15 boundaries of oud. Master Targan completed the two movements of Hüzzam Saz Semai at age thirteen, with Rauf Yekta Bey referring to his Irak Saz Semai as “Iraq secion is now complete.” In brief, he had a thorough proiciency of tradiion as well as a keen interest in modern paterns. It is observed that he showed and intellectual interest in every ield of ine arts. During his years in Baghdad, he opened the conservatory and the music department as well as theater and sculpture departments. Going beyond taboos of represening the Haşimi family, and therefore the lineage of the Prophet, he sought a high arisic and aestheic approach. This aitude indicates that he was one of the portraits created by Otoman modernism. However, he also belonged to tradiion in a certain respect. There is a close link between music and social structure and the idenity of the musician raised within that society. As a creaive idenity, a musician actually makes the music of the life he is living. It is within this perspecive that one should read Münir Nurein, Targan, Cemil Bey and Hasan Ferit Alnar. The spiritual quest of an arist in a transiion society can be found in Targan. He masterfully used tradiional forms in saz semais, while assering his own style in pariions within a tradiional composiion. Familiar colors were seen in the main course of his makam and he presents his enirely original style following the prelude. The same can be seen in saz semais as well. He made use of a tradiional texture in the irst three movements and used musical phrases requiring technically diicult and diferent posiions in the fourth phrase. He adopted the same approach in saz semais Hüzzam, Uşşak, Ferahfeza, Dügah, Nihavend and Müstear. Targan created himself as an individual, a soloist in other words, while transforming instrument as a soloist instrument with his works, thereby challenging the tradiional percepion.13 He increased the sound pitch of oud as high as four octaves. The virtuosity of Targan is manifested in his idea to write a piece for an instrument, idea of posiion, use of nuance signs, use of plectrum and ingers for various diicult passages, a thorough use of the keyboard, ornamentaions of his own, polyphony in oud, use of various violoncello techniques in inger pressing and the propagaion of the idea of recital. 14 Şerif Muhiddin Targan was a trailblazer in composiion of pieces for oud in Turkish music. The six concert etudes he wrote are a manifestaion of what kind of a soloist he was and how he adapted this Western music form in Turkish music, which fell outside tradiion. Two elements stand out in the etude form: Exclusively musical elements and those exclusively related to instrument techniques. A wellwriten etude should be equal in terms of music and instrument mastery. Etude was used by Cramer and Celemeni in late 18th century and demonstrated its most ideal examples in virtuoso performers such as Chopin and Lizst15. Targan’s etudes meanwhile are comprised of select examples of the oud repertoire. Nevertheless, it is not quite possible to argue that the records of his etudes can be thoroughly examined both in technical and aestheic terms. Saiya Ayla Targan emphasizes Bach, Chopin and Lizst when she refers to 13 Ersu Pekin, “Evliya Çelebi Müzik Değişiminin Neresinde?”, Çağının Sıradışı Yazarı: Evliya Çelebi, Yapı Kredi Yayınları, İstanbul, s. 334-335. 14 M. Hakan Cevher, Şerif Muhiddin Targan: Hayaı-Besteciliği-Eserleri, Ege Üniversitesi Basımevi, İzmir 1993, s. 15. 15 Andre Hodeir, Müzikte Türler ve Biçimler, çev. İlhan Usmanbaş, Pan Yayınları, İstanbul 2002, s. 33. 43 MUSICULT ‘15 musicians that her husband Targan was inluenced by. Targan not only knew his Itri, Sadullah Ağa and Dede Efendi but showed a mastery of Western music to such a degree as to perform the violoncello concerto of Haydn in the symphony orchestra directed by Cemal Reşit Rey. Targan had an ideal knowledge of Eastern and Western music tradiions, which relected in his works as a performer. It is possible to ind traces of this knowledge in his works such as Koşan Çocuk (Running Child), Kanatlarım Olsa İdi (If I Had Wings) and Kapris (Capricio). It is not a coincidence that he created an example of Turkish music in the Capriccio form, which is a composiion that has a vibrant, vigorous content but without a deinite structure that aims to create an unexpected impact. The form was previously composed in the fugue style in Western music. Following the New York concerts, oud acquired a new idenity. A trip (1924) by Targan to NY was extremely important for the development of a new manner of Turkish performance. In paricular, Targan was the irst to advance the noions of a ‘soloist’(solist) and an ‘arist’ in alaturka, two western noions of musical performance which he had experienced while atending concerts in New York. Further, he was the irst concert arist in alaturka, Targan appropriaing the musical mannerisms of ‘western’ music when presening an ‘eastern’ tradiion, both in terms of concert seings and concert convenion. Targan is widely recognized as the irst soloist to present ud in a concert seing. His of presentaion was also diferent. The following discussion examines the form and content of this concert, showing how this musical event difered from tradiional praice yet built a tradiional precedent. He adapted western techniques (such as ornamentaion and portamento) to ud performance. It is relates to a musical performance by him in the Town Hall, New York (13 December 1928). Playing the cello and the ud, the arist presented a somewhat varied repertoire of popular arrangements and ‘classical’ Works on the cello. The concert was divided into four secions, the arist performing his own composiions on the ud in the third secion. These included a ‘Capriccio’ (either ‘Kapris I’ 1923 or (‘Kapris II’1924). S-amaei Ferahfeza’ (‘Ferahfeza Saz Seamisi’ 1926) and a piece enitled ‘Running Child) (probably ‘Çocuk Havası’1928). In addiion, ‘Raja’ (described as ‘old Arabian dance’) is detailed on the programme. Interesingly, the ‘S-amaei Ferahfeza’ is described as ‘a kind of oriental composiion which has its own rhythm and form’. By way of clariicaion, the piece enitled ‘Runing Child’ is probably not hte composiion called ‘Koşan Çocuk’ (‘Running Child) which was composed much later (in 1956).16 This concert was reviewed in the Sunday Telegraph (16 December 1928), amongst other newspaer. Reports of the concert were publised subsequently in Turkish newspaper. Signifcantly, a copy of the original programme is to be found in Selçuk’s archive. The musical reviews focus on the technical dexterity demonstrated bt Targan. On the celllo, he is complemented on his rich sound, noble style and technical mastery. On the oud, his, his virtuosic displays are compared with musical innovaions developed by Andres Segovia (1893-1987) on the guitar. Altough both musicians employed diferent ingering techniques to the oud, a legato style of ingering that deviated signiicantly from tradiional pracice. Notably, this paricular style of oud performance was imitated later by Arab (such as Jamil Bashir 192016 John Morgan O’Connell, Alaturka: Style in Turkish Music (1923-1938), Ashgate Publishing Limited, England, 2013, s. 146 44 MUSICULT ‘15 1977) and Turkish (such as Cinuçen Tanrıkorur) musicians. In a separate review published earlier in the New York Herald Tirubune (24 August 1924), the pianist Leopold Godoswsk (1870-1938) likened Targan to ‘the Paganini of ud’. Targan transformed the performance of oud in the Middle East and in Turkey in an innovaive style. In addiion to his classical instrumental pieces and a few songs, in an efort to develop virtuosity, he created pieces with names inspired by the virtuosity tradiion of Western music such as caprice, etude and concert piece. In paricular, he created the irst serious method to train a virtuoso in oud. 17 Training a pure virtuoso or solely an instrumentalist has never been a primary goal in Otoman Turkish music tradiion. Methods put forward by Haız Mehmed Efendi in 1901, by Ali Salahi Bey in 1910 and later Fahri Kopuz are a clear manifestaion of this absence. However, Targan’s aitude in this regard represents a modern approach, which is draws atenion. 18 The method he started to write in 1919 remained as a manuscript and was not published in his lifeime. This manuscript now in İstanbul Süleymaniye Library was published in 1995.19 Targan’s method uses both major or minor scales and makam within a three-octave sound pitch on a single string. Targan was not able to have followers as a virtuoso like Tanburi Cemil. A cartoon in the 50th issue of Akbaba Magazine in 1934 is a naïve expression of this situaion. The concert ha gave in the French Theater on December 4, 1934 was found exciing by authoriies but could not ind suicient support from other music circles of the ime. As is referred to by Cem Behar, Targan’s oud performance was considered inanimate, emoionless and lacking in musicality. His performances were regarded too Western and therefore incompaible with the Turkish oud style. As a result of this prejudiced aitude, no followers emerged out of these territories to take his legacy further. Targan could not train students in Turkey. During his twelve year tenure as administrator and oud instructor in the Music Department of the Baghdad Insitute of Fine Arts, he instructed Münir Beşir and Cemil Beşir brothers and Selman Şükür, considered as the greatest oud players of the Arab world in the 20th century. 20 In brief, his greatest and deepest impact was in Arab oud players.21 Targan’s instrucion plays as much role in the development of modern oud playing style in Iraq from late 1930s as the creaivity of local Iraqi arists and the increasing efect of Western music educaion. 22 Conclusion Şerif Muhiddin is a musician that hangs in limbo, a state which inspired his arisic creaivity rather than producing an anguish of depression age. However, as is argued by certain people, he was aware of the fact that both types of music developed in their own cultural reservoir. He did use major and minor scale structure indeed. But 17 Hocaoğlu, age., s. 69. 18 Targan’ın modern üslubunu benimseyen metotlardan bir diğeri de Mutlu Torun’a aiir. Cem Behar, Aşk Olmayınca Meşk Olmaz: Geleneksel Osmanlı/Türk Müziğinde Öğreim ve İnikal, Yapı Kredi Yayınları, İstanbul 2012, 4. Baskı, s. 185. 19 Şerif Muhiddin Targan, Ud Metodu, Yay. Haz. Gökhan Matbaası, İstanbul 1995. 20 Simon Jargy, “Musician of wisdom or magician of the ud”, Mesopotamia: Munir Bashir, Harmonia Mundi, s. 28. 21 Behar, age., s. 110-111. 22 Racy, age., s. 15. 45 MUSICULT ‘15 this was not an asserive or defensive use. He did not consider taking the music he thought of as his contemporary and turning it into a polyphonic Turkish music. He rather stated that it would be possible to leave the naional idenity and acquire a universal idenity with our own moif and music by mastering both of these music types with their repertoires, history and all the aestheic emoions related to them. Mehmed Akif Ersoy, his close friend, says of him “The Sole Genius of the East”. We have not been successful enough to comprehend this genius. Understanding Targan, evaluaing his music and legacy as well as inding out what kind of a society he was a cultural product of will be determinant in elucidaing modernizaion and individualizaion in performance in Turkey, just as is the case with Tanburi Cemil Bey. He was legendary igure, greatest intrumental virtuoso of his ime and the most creaive composer of ud’s music and he was a bold innovator within the tradiion of ud style. Targan provided a stylisic bridge between the past and present, a cultural bridge the ‘east’ and the ‘west’. He is oten represented in a diferent light. Although historical documents indicate a pragmaist, ethnographic narraives suggest an idealist. Was the arist really a revoluioanary as ethnographic representaions would suggest or was he simply a reacionary as historical sources would conirm? Was he modernist or a tradiionalist? I argue that he was both since he represented a traditonal engagement with modernity that dated back to the nineteenth century. Perhaps, he would once have been called ‘a man of the Tanzimat (1876) or he would be more recently have been known as ‘a gentleman of Istanbul, a mediator between the east and the west. 46 LOCAL & UNIVERSAL MUSICULT ‘15 MUSIC AND CULTURAL STUDIES CONFERENCE PROCEEDINGS MAY 7-8, 2015 ITU (ISTANBUL TECHNICAL UNIVERSITY) TURKISH MUSIC STATE CONSERVATORY DAKAM Publishing 3 LOCAL & UNIVERSAL DAKAM Publishing (D/PB) May 2015 , İstanbul. www.dakam.org Firuzağa Mah. Boğazkesen Cad. Çangar İş Merkezi. No:36/3, 34425, Beyoğlu, İstanbul, Turkey Local & Universal MUSICULT ’15 / Music and Cultural Studies Conference Proceedings May 7-8, 2015, İstanbul organized by DAKAM (Eastern Mediterranean Academic Research Center) hosted by Istanbul Technical University Turkish Music State Conservatory Scientific Committee: Prof.Dr. Songül Karahasanoğlu - Istanbul Technical University Prof.Dr. Bruno Nettl - University of Illinois School of Music Prof. Dr. Martin Stokes - King's College London Prof.Dr. Ali Ergur - Galatasaray University Prof.Dr. Orhan Tekelioğlu - Bahçeşehir University Prof.Dr. Iştar Gözaydın Savaşır - Doğuş University Assoc. Prof. Donna Buchanan - University of Illinois Assoc. Prof. Gözde Çolakoğlu - Istanbul Technical University Assoc. Prof. Can Karadoğan - Istanbul Technical University Assoc. Prof. Kıvılcım Yıldız Şenürkmez - Mimar Sinan Fine Arts University Assoc. Prof. Dr. Abdullah Akat - Karadeniz Technical University Asst. Prof. İlke Boran - Mimar Sinan Fine Arts University Asst. Prof. Ozan Baysal - Istanbul Technical University Asst. Prof. Irene Markoff - York University Asst. Prof. Ömer Can SATIR - Hitit University Lecturer İsmail Sınır - Muğla Sıtkı Koçman University Edited by: Prof.Dr. Songül Karahasanoğlu Design: Özgür Aydoğan Cover Design: D/GD (DAKAM Graphic Design) Print: Metin Copy Plus, Türkocağı Cad No:3 , Cağoğlu, İstanbul ISBN: 978-605-4841-93-6 2 MUSICULT ‘15 CONTENTS 9 LOCAL & UNIVERSAL 11 VOCALOID: POP MUSIC BY THE FANS, FOR THE FANS ALICIA STARK 25 RELATION OF MUSIC TO CULTURAL IDENTITY IN THE COLONIES OF WEST GREECE: THE CASE OF SELINUS ANGELA BELLIA 39 ŞERIF MUHIDDIN TARGAN: AS THE ACTOR AND INDICATOR OF MODERN COMPOUNDS BILEN IŞIKTAŞ 47 FOLK DANCES AND CULTURAL IDENTITY EVENING DANCE (WUTIR N’GUENIW) – TABELBALA, ALGERIA BARKA BOUCHIBA 53 “RIMEMBRANZE DEL BOSFORO”: THE CONDUCTOR ANGELO MARIANI (1821-1873) BETWEEN GENOA AND CONSTANTINOPLE CARMELA BONGIOVANNI 59 THE EFFECT OF MTV ON INTERIORS DIDEM TUNCEL 69 DECODING MEMLEKET AND GURBET IN THE MUSICAL PRODUCTION OF PEOPLE FROM TURKEY IN GERMANY ELIF DAMLA YAVUZ 75 TRANSIT MIGRATION IN MUSIC AND MIGRATION STUDIES EVRIM HIKMET ÖĞÜT 81 THE IMPORTANCE OF POPULAR DANCE IN THE ALGERIAN SOCIETY: HOUBI DANCE A CASE STUDY FATIHA GUESSABI AND BARKA BOUCHIBA 87 THE ROLE OF MUSICAL CREATION IN WORLD MUSIC FESTIVALS FLAVIA GERVASI, CAROLINE MARCOUX-GENDRON 95 SONIC PERCEPTION TRANSLATED INTO IMAGE: GREEK CLASSICALLY-TRAINED/ TRADITIONAL MUSICIANS ATTEMPT TO PORTRAY CLASSICAL/TRADITIONAL MUSIC AS GRAPHIC REPRESENTATIONS GEORGE ATHANASOPOULOS, GEORGE KITSIOS 107 MUSIC AND MIGRATION GÖKÇE BAYINDIR GOULARAS 4