Italian Opera and theater had a huge impact on Turkish culture in the early 20th century. Terminology of music and theater derived from Italian. In the argot at the improvisational theater of Istanbul the stage was called "sahano", backstage was referred to as "koyuntu", the backgrounds depicting the countryside, and "Bosko", the applause as "Furi" and the songs sung as solos or duets between the acts and plays under the name "Kanto", was the case with their Italian counterparts, the Turkish members of the troupe played songs and music before the show and between the acts to peak peoples interest and draw in customers. Kanto was based on traditional Eastern makam, but conducted with Western instruments.
(pictured: Haydo Lillora Sıosgiroz | Hicaz Buselik Jewish Kanto)
https://www.youtube.com/watch?v=VLV3zeIqIbk
1. Of theatrical origin.
Impromptu theatrical performances were performances of Karagoz shadow puppet and Orta Oyunu form of Turkish theatre performed in the open air of tradition, albeit in much more simplifled form. The themes of these traditional theatre arts, as well as their stereotypes were used as the basis for the new extemporaneous performances of the tuluat "impromptu" theatre. Thus, Kanto can be regarded as a unifying feature of all the tuluat theatre.
2. Periods
Kanto is usually divided into two periods. Division, especially in terms of musical structure, obviously, since the early 1900-ies in Kanto in Kanto in 1923, and after the Republican period, especially after the middle of 1930-ies. Next, you can select two styles in the early years: Galata and Direklerarası after the old quarters of Istanbul.
2.1. The early period: 1900s-mid-1930-ies.
The early period Kanto tradition was nourished in Istanbul. The same is true in the post-Republican period. The citys large and diverse population, we offer themes that were the mainstay of Kanto. Kanto was heavily influenced by musical theatre, Balkan and Byzantine or Anatolian music Karsilamas, which, however, was often the subject of satire in Kanto songs and Greek music, especially the Istanbul rum, who are so fond of urban entertainment. In other words, Kanto was the result of cultural exchange and almost all the early Kanto singers were either rum or Armenian: Pepron, Caracas, Haim, Shamiram Kelleciyan and Peruz Terzekyan they are all made in the period after 1903.
2.2. Galata and Direklerarası.
Galata was part of Istanbul, where the sailors, rowdies and roustabouts often. Ahmet Rasim Bey gives a vivid picture of the Galata theaters in the novel Fuhs-I AKIT "old whore": "Everyone thought Peruz was the most playful, most skilled and most provocative. Seats closer to the stage was always crammed full. They said Peruz, she became loose and entangled the heart of many young people and made himself an enemy of many. Her songs are hardly finished, when there are chairs, flowers, bouquets, and ribbons of letter. Fly from boxseats. It seemed that the building would be shaken to its foundations". Direklerarası in comparison to Galata was a more refined center of entertainment. Direklerarası was said to be quite lively at night during the month Ramadan or Ramazan in Turkish. It was there that the troupes of Kel Hasan and Abdi Efendi and later Neshid gained popularity. Under the influence of these masters Kanto was his Golden years. Bands orchestras recommended instruments such as trumpet, trombone, violin, trap drum and cymbals. The band starts to play contemporary popular songs and marches about an hour before the main show. This interval ends with the famous Izmir Marsı March, a sign that the show time was approaching. The game started as soon as the musicians took their places on stage. Famous artists include: Peruz, Shamran, to, Eleni, Kuçuk and Buyuk Amelya, Mari Ferha and Virjin.
2.3.1923–mid-1930s years: decline in popularity.
After the formation in 1923 of the Turkish Republic, there have been changes in the cultural life of Turkey. It was a period of rapid transformation and its effects were widespread. Turkish women finally gained the freedom to appear on stage, breaking the monopoly previously held Rûm Istanbul, Greek and Armenian women who performed in musical and not musical theatre. Institutions such as Darulbedayi the Istanbul city theatre and Darulelhan Istanbul Conservatory educated musicians who worked as artists in Kanto. To 1930 years, the Western lifestyle and Western art has put pressure on the traditional Turkish formats that have been marginalized. The operetta, the tango and later the Charleston and the Foxtrot of the shadows Kanto. The popularity of the Cantos began to fade, the center has shifted and the theaters of Galata and Direklerarası in the end was closed. Turkish women artists who were not receptive to the Cantos typical profanity prefer to turn away from him.
2.4. Topics.
The Kanto singers in this period were also composers. Songs had simple melodies combined with lyrics that described the tensions between men and women or to explore topics of love, or simply reflect local events of the time. The composition was known makams such as Rast, Huzzam, Hicaz, Huseyni and Nihavent. Songs Canto remember the names of their interpreters and by their creators.
2.5. The end of the 1930-ies and beyond.
There was a new trend after the end of the 1930-ies: theres been a resurgence of interest in the Kanto form. Although quite far from its fundamental principles a new type of Kanto was again popular. Kanto was no longer exclusively for performances on the stage, there began to exist record created in the Studio. While the texts began to include satirical takes on contemporary cultural trends and fashions. The songs were recorded with the 78 rpm phonograph. Colombia is a leading label that commissioned Kanto from Kaptanzade Ali Riza Bey, Refik Fersan, Dramalı Hasan, Sadettin Kaynak, Cumbus Mehmet and Mildan Niyazi Bey. In makams were the same, but the devices have not changed. Kanto were now accompanied in fretlees cumbus banjo-like instrument the Oud and fretless lute, and calpara castanets. Foxtrot, Charleston, Rumba and the rhythms combined with the typical Kanto forms. Female soloists from this period include: same Makbule Enver, Mahmure, and Neriman, Besiktaslı Kemal Senman was the most sought-after singer for a duet.
2.6. Topics.
Among the topics discussed by the new kantocu singers or composers Kanto), the most frequent subject of satire about the new role of women after the formation of the Republic. Songs like "Sarhos Kızlar" drunk girls, or "Sofor Kadınlar" women drivers were written in retaliation for all the suffering women endured at the hands of people in the past. Other songs with similar themes "Daktilo" the typewriter, which brought to mind the newly minted Secretaires society "Berel Kyz" girl in a beret "Kadın Asker" and "Olursa" when women were warriors.
2.7.The modern use of the term.
Kanto had a huge impact on modern Turkish popular music. However, the word "Kanto" eventually became more generalized umbrella term than a precise definition of the musical genre. Any tune that does not adhere to any agreements, or any song that appealed to the trends and tastes of the time of its release, called Kanto. Any music instrumented in a new labeled Kanto. Nurhan Damcıoğlu is an example of modern post-1980-ies the artist is marked as Canto singer.
2.8. Rhythms.
Most rebetiko songs are based on traditional Greek or Anatolian dance rhythms. The most common are:
Antikristos or Karsilamas and Argilamas 9 / 8 meters.
Zeibekiko, and 9 / 4 or 9 / 8 meters, in its various forms.
Sirtaki, including various kinds of Greek music. It is also a quick option Chasapiko as 4 / 4 and 2 / 4 meter.
The hasapiko, in 4 / 4 meter and the fast version Hasaposerviko in 2 / 4 meter.
Tsifteteli, a dance of women, 4 / 4.
Sirtos, the General name for many Greek dances that Nisiotika, mostly the 4 / 4 meter in various forms.
Kamilierikos 9 / 8 meter) and Aptalikos divided into two sixteenth, slow version 9 / 4 and fast version of 9 / 16 meter in various forms.
Melinos karsilamas Mastika. Kanto was heavily influenced by musical theatre, Balkan and Byzantine or Anatolian music Karsilamas which was however
Hicaz Buselik Jewish Kanto (Turkish: Hicaz Buselik Yahudi Kantosu,Greek: Πράσινες ντομάτες - Συρτό Άνδρου) is a Greek, Jewish and Turkish folkloric tune syrtos or hasaposerviko.
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