Our Classical Turkish Music Choir conversed on literature and art with the conductor, Asuman Ercan. We extend our thanks to her for participating in this conversation with us.
- Firstly, could you tell us about the Classical Turkish Music Choir? When was it established? How did it come into being? How do you envision its progress or future?
We first appeared on stage at the handover ceremony of the former Rector Yücel Yılmaz in 2009, and that was when we were established. Deniz Hoca (Prof. Dr. Yücel Bayraktar) wanted to do something nice for Yücel Yılmaz and asked Gülten Çapan if a choir could perform at his handover ceremony. When they asked if there was someone who could assist Gülten Çapan, who was working in the State Symphony Orchestra, she recommended me. I immediately went to the school. Everything went well, and our adventure began like this. When our former Rector Yücel was bidding farewell, he said, ‘I want this choir to be the permanent choir of the school.’ And we have been continuing since that day. We only had to take a break during the pandemic, which unfortunately severed our connection with the students. In the early days of our establishment, we could be very close to our students. We used to give two concerts a year, and we still do. This year, our concert was a bit delayed. We held our first concert this year in March, and preparations are underway for the second concert.
- What can you say about the general impact and importance of Classical Turkish Music on society?
Classical Turkish music is a genre that belongs to Turkish culture. It is one of the few classical music genres that have been passed down traditionally through generations worldwide. Classical Turkish music initially started in palaces and dervish lodges. It continued like this until the Republican Period. After the Republican revolution, it turned towards individuals and choirs. The aim was to reach the public through choirs and soloists that could attract more attention from society. It has continued like this until today.
- How do you evaluate the relationship between Classical Turkish Music and other music genres?
Classical Turkish music is less accessible to larger audiences nowadays since it is not heard or performed outside specific institutions. It is generally listened to and appreciated by people who are interested and familiar with this music. Its audience engagement methods are very different from other music genres. For example, the instruments of Classical Turkish Music are the ney, tambur, keman, and violoncello, while other music genres have very different instruments. It is hard for them to harmonize with each other, especially since the sounds and tones produced by Western Music differ. They are very separate and different music genres.
- So, what criteria do you consider in selecting songs for your repertoire, and how does your selection process work?
In the beginning, although we weren’t very classical, we still performed works from the Republican era. We had to make many changes to our repertoire since then. We changed our repertoire a lot because of the interest shown to us and the impact reaction from the students. I am a Classical Turkish Music artist, but I can say that I gave up my style here to make the students love music. Our only goal is to make our children love music, to engage with music, and to fill their souls with music because people involved with music cannot be bad people. In selecting the pieces, I try to choose pieces that are pleasing to the ear and can influence and pull them as much as possible. I also consider the audience. We don’t want the audience to be bored because nowadays, people’s perspectives and approaches to music have changed. They expect very different things. So, I try to select pieces that the audience, school staff members, and faculty members who are doing this job with me can enjoy, feel pleasure in, and that can be in their ears. I don’t want to lose them; I want to gain them. This will be a plus for us, and it will also result in a change in my genre.
- How do you think frequently found classical pieces in the Classical Turkish Music repertoire can be introduced to the modern audience?
Finding pieces that will appeal to their ears attracts them. We have many such pieces. Research is required to find them. Efforts are a must to attract the audience. We need to find and satisfy the modern audience with such pieces.
- How do you evaluate the influence of classical music education on today’s musical trends?
Classical music education has decreased significantly nowadays. There was only Istanbul Conservatory, but it was transferred to Istanbul University. There is also ITU. Now they provide great support to amateur choirs, but they all have different lines, as I mentioned. You can’t appeal to everyone. Especially, you can’t appeal to the youth at all. As I said, there are only a few places where people who want to listen to this music go, as I mentioned before. They listen there. It became difficult to sustain Classical Turkish Music, to make people love it, and to impose it on others. We are trying to do our best.
- What do you think about the place of pieces inspired by literary works? Could you tell us about poems that have been set to music and their stories? Is there a poem with a striking story?
There is a work by Melahat Pars called ‘Ben Gamlı Hazan / Sen Taze Bahar’ (I am the Sad Autumn / You are the Fresh Spring). This work is a well-known and sung work by everyone. The story that has been told and passed down to us until today is as follows: When Melahat Hoca was a teaching assistant at school, one of her students fell in love with her. Melahat Hanım did not notice this at first, but she realized that she was passing by her student while descending the stairs, and she observed him during the lessons. One day, her student told her that he was in love with her. Melahat Hanım was very surprised. She said that such love was not possible. She composed a piece with the lyrics ‘Ben gamlı hazan, sen taze bahar; dinle de vazgeç. Olmaz meleğim böyle bir aşk bende vakit geç. Sen kendine kendin gibi bir taze bahar seç.’ (I am the sad autumn, you are the fresh spring; listen and give up. It won’t work, my angel, such love is not for me. Choose for yourself a fresh spring-like yourself). She read it at school the next day. At that moment, she saw her student in front of her, drowning in tears. Such a story is said to have happened.
- How do you perceive the interaction of music and literature in the social and cultural context?
We can say that there cannot be literature without music, and there cannot be music without literature. Poetry and literary works become music material. They become a pleasant sound with that voice and tone and with instruments to the ears of people.
- As we slowly approach our final questions, I would like to ask you this: What can be done to introduce and instill a love for Classical Turkish Music in younger generations?
We need to be in front of their eyes as much as possible, but this is very difficult due to economic conditions. We are doing expensive work. Most importantly, it is about filling their ears with this music. This can only be achieved by playing our music to them and being in front of them. We can only be in the spotlight through concerts. It has become much more difficult to make our voices heard because fewer communication tools are talking about this music. Many of my friends are managing amateur choirs. They are trying to promote it around them. In our school, we try to do something every Friday, one hour a day. We get results. My friends who come always tell me the same thing: ‘How can you achieve this in just one hour a day?’ We can achieve it. Of course, I know very little, but if the people in front of you are in the same dedication as you and if they do it with love, you can achieve it. I think we can only reach the younger generation through choir work at school, by increasing our concerts, that is, the more we are in front of them, the more we can reach them. I believe that if they become aware of our existence and if we win our students by selecting songs that are not too classical but not too modern either, we will succeed.
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Photo by Adrian Korte on Unsplash