by The term “ethnomusicology” was first introduced in 1950 by the Dutch ethnomusicologist Jaap Kunst in his book *Musikologica: A Study of the Nature of Ethnomusicology, Its Problems, Methods, and Representative Personalities,” and was immediately adopted by those engaged in the field. Ethnomusicology can also be defined as the study of the music of a specific region within its social and cultural context, or as the comparative study of the music of different cultural groups. Based on various perspectives and explanations, it is concluded that there are close ties between ethnomusicology and music, anthropology, behavioral patterns, and traditions.
Until recently, the concept of ethnomusicology—which was viewed as the study of “primitive” music—has evolved; it is now understood that many authentic music genres around the world are by no means primitive, that they fulfill numerous functions within society, and that they possess structures that are more complex than they appear. In fact, traditional pentatonic forms and repertoire have become frequently used in modern jazz, music, and movement therapies.
People around the world and in Turkey, weary of high-decibel, fast-paced music genres like electronic, rock-pop, and rap—including gangsta rap—as well as the cultural degradation seen in genres like Arabesk; have begun to seek the purity and peace they seek in many areas—such as food, clothing, and decor—in music as well, and ethnomusicological elements—including melody, rhythm, instruments, decor, and traditions—have begun to gain importance. Archives in Egypt, Sudan, Yemen, Indonesia, and India were established by the Ford Foundation. Support from countries such as Germany and Japan in the establishment of archives and ethnomusicology departments, as well as support from organizations like Fulbright, the Wenner-Gren Foundation, and ARIT, which supported ethnomusicological research conducted in various parts of the world, as well as the Japanese company Sony’s support for the music therapy center at New York University and the assistance received by music therapy organizations in the United Kingdom, Spain, and Belgium from their respective queens, are examples worth noting.
In our view, a key aspect of this rapidly evolving field worldwide is determining the place of ethnomusicology within the traditions of Turkish history and music therapy. Unfortunately, very little research has been conducted on this topic globally. Human figures dancing on rocks along the banks of the Mülçe River near the Hotan Province in East Turkestan have been discovered (said to date back 6,000–8,000 years B.C.). The history of the musical instrument known as the “Çeng,” discovered by Rudenko and Griaznov in the Pazırık Valley in the Altai Mountains, dates back to around 1700 B.C. Researchers such as W. Eberhard, E. Chavannes, and R. Lach have introduced the world to Turkic music, which has influenced the music of present-day China, Asia, and the world. Today, countless examples of repertoires, dances, and instruments—unknown and unrecognized by the rest of the world—still exist in Turkic regions.
The tradition of music therapy, practiced in a systematic and institutionalized manner, can be traced back to Turkish history. Nine hundred years ago, during the Seljuk period, a hospital was established in Damascus for this purpose, and this tradition continued in the hospitals of Amasya, Kayseri, Bursa, Manisa, Edirne, and Istanbul in Anatolia. Al-Farabi, Ibn Sina, Abu Bakr al-Razi, Hashim Bey, Hafiz Hasan Efendi, and Hasan Shuri systematically demonstrated the effects of our musical modes on the human body’s organs and emotions.
Instruments used in the time of Dede Korkut—such as the Kılkopuz, Kolcakopuz, Dombra, Şangobız, Asatayak, Çeng, Komuz, Kılkıyak, Yatuğan, Koray, Sıbızgı, Şerter, etc., as well as the dances and chants of the Baksı-Shamans, to the compositions of great masters such as Safüyyüddin and Meragi; from the Ney, Tanbur, Kanun, Ud, Kemençe, Bağlama, Tulum, Zurna, Tar, Kudüm, Halile, Mazhar, Sipsi, etc.—our nation possesses a vast and rich musical heritage. These values are gaining importance in ethnomusicology and music therapy, and schools and centers are being established worldwide for this purpose.
The 3rd International Symposium on Ethnomusicology and the 2nd International Ethnomusicology Friendship Bridge Festival can be viewed as steps taken toward making our national values and cultural heritage visible to the nations of the world on a loving and authentic foundation, side by side.
ASSISTANT PROFESSOR DR. RAHMİ ORUÇ GÜVENÇ, ART DIRECTOR OF