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Musical convergence and divergence in occupied İstanbul, 1918–1923
Published online by Cambridge University Press: 29 January 2024
Abstract
The Allied occupation of İstanbul after World War I had a transformative impact on the city’s musical entertainment sector. The arrival of large numbers of military personnel created additional demand for music halls, cabarets, cafe-chantants, and concert venues. Servicemen’s musical preferences were catered for by resident İstanbulites and others who found refuge in the city, creating opportunities for musicians and entertainment entrepreneurs to benefit from new and existing patrons. This buoyant market was further harnessed for charitable causes directed at new categories of people in need. The distinct political climate introduced with occupation also made its mark on musical performance, with nationalist and socialist groups using concerts to promote messages of salvation. The end of the occupation led to the dispersal of these musicians to new locations, such as the new Republican capital of Ankara, which attracted talents intent on staying in Turkey, and Athens and Thessaloniki, which received Greek Orthodox musicians fleeing the new Turkish nationalist regime, and still further afield. Using British, French, and Ottoman government documents, memoirs, and newspapers, the article investigates this process of musical convergence and divergence and analyses the local and global impact of the aural encounters of this overlooked period in İstanbul’s cultural history.
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- © The Author(s), 2024. Published by Cambridge University Press on behalf of New Perspectives on Turkey
References
References
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Google Scholar
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High Commissioners’ Meeting 3 March 1922. 36 PO/1/405.Google Scholar
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Neratow to French High Commission 19 February 1921. 36 PO/1/406.Google Scholar
Ordres jugées par le secteur français de la police 26 October 1922. 36 PO/1/405.Google Scholar
Petition to French High Commission 29 October 1919. 36 PO/1/36.Google Scholar
Société Ottoman Bosphore to French High Commissioner n.d. 36 PO/1/406.Google Scholar
Macedonian Conservatoire, Thessaloniki
Google Scholar
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Grand Concert (1919). Concert Program.Google Scholar
Middle East Centre Archives, St Antony’s College, Oxford
Google Scholar
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Google Scholar
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İkdam,1920–1922Google Scholar
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Khuri-Makdisi, I (2010) The Eastern Mediterranean and the Making of Global Radicalism, 1860–1914. Berkeley: University of California Press.Google Scholar
Kuyumjian, RS (2001) Archaeology of Madness: Komitas, Portrait of an Armenian Icon. Reading: Taderon Press.Google Scholar
MacArthur-Seal, D-J (2021) Britain’s Levantine Empire, 1914–1923. Oxford: Oxford University Press.CrossRefGoogle Scholar
Manas, E (2022) Edgar Manas Efendi İstiklâl Marşının bestesiyle nasıl ilgilendi? In Türinay N and Karakılıç S (eds), Gurbet Yillari ve Türkiye Dönüşünde Mehmet Akif. Ankara: TBMM Basımevi, 269–270.Google Scholar
Mestyan, A (2011) “A garden with mellow fruits of refinement”: music theatres and cultural politics in Cairo and Istanbul, 1867–1892. PhD dissertation, Department of History, Central European University, Budapest.Google Scholar
Morfessi, Y (1931) Zhizn, Lyubov, Stsena. Vospominaniya Russkogo Boyarina. Paris: Starina.Google Scholar
Murphy, M (2018) The “hole-y city”: British soldiers’ perceptions of Jerusalem during its occupation, 1917–1920. In Clarke, J and Horne, J (eds), Militarized Cultural Encounters in the Long Nineteenth Century: Making War, Mapping Europe. Basingstoke: Palgrave Macmillan.Google Scholar
O’Connell, JM (2018) Commemorating Gallipoli Through Music: Remembering and Forgetting. Lanham: Lexington Books.Google Scholar
Özbek, N (2016) Osmanlı İmparatorluğu’nda Sosyal Devlet: Siyaset, İktidar ve Meşrutiyet 1876–1914. İstanbul: İletişim Yayınları.Google Scholar
Palomino, P (2020) The Invention of Latin American Music: A Transnational History. Oxford: Oxford University Press.CrossRefGoogle Scholar
Papadopoulos, AG (2017) Rembetika as embodiment of Istanbul’s margins: musical landscapes in and of transition. In Papadopoulos AG and Duru A (eds), Landscapes of Music in Istanbul: A Cultural Politics of Place and Exclusion. Bielefeld: Transcript, 47–83.Google Scholar
Petsche, J (2012) G. I. Gurdjieff’s piano music and its application in and outside “The Work.” In Cusack CM and Norman A (eds), Handbook of New Religions and Cultural Production. Leiden: Brill.CrossRefGoogle Scholar
Salgam, A (2011) Osmanlı’da musiki devrimi. Felsefe Sosyal Bilimler Dergisi 4(14), 59–61.Google Scholar
Stein, O (2019) Propagandisten des Kuk Vielvölkerreiches: Österreichisch-Ungarische Soldaten im Osmanischen Reich Während des Ersten Weltkrieges. Militaergeschichtliche Zeitschrift 78, 412–441.CrossRefGoogle Scholar
Taranç, B (1988) Muhlis Sabahattin’de Türk ve batı müziği etkileşimleri. Master’s dissertation, Social Science Institute, Eylül University, İzmir.Google Scholar
Töker, H (2017) Ali Rifat Çağatay evrakında yer alan İstiklal Marşı ile alakalı belgelerden hareketle ilk resmî İstiklal Marşı bestemiz. In Döğrusoz N and Ergur A (eds), Musikinin Asrî Prensi: Ali Rifat Çağatay. Ankara: Gece Kitaplığı, 133–180.Google Scholar
Tongo, G (2015) Artist and revolutionary: Panos Temlemezian as an Ottoman Armenian painter. Études Arméniennes Contemporaines 6, 111–153.CrossRefGoogle Scholar
Uçan, A (2022) İstanbul’un çoksesli batı müziği yaşamı, kültürü ve eğitimi geçmişine genel bir bakış. In Bali, S (ed), İstanbul'un Çok Sesli Batı Müziği Tarihi. İstanbul: İBB Kültür AŞ.Google Scholar
Üngör, U (2012) Orphans, converts, and prostitutes: social consequences of war and persecution in the Ottoman Empire, 1914–1923. War in History 19(2), 173–192.Google Scholar
Ünlü, C (2004) Git Zaman Gel Zaman: Fonograf – Gramofon – Taş Plak. İstanbul: Pan Yayıncılık.Google Scholar
Üre, P (2020) Remnants of empires: Russian refugees and citizenship regime in Turkey, 1923–1938. Middle Eastern Studies 56(2), 207–221.CrossRefGoogle Scholar
Uyar, YM and Karahasanoğlu, S (2016) The early performance of jazz music in Turkey. Porte Akademik: Journal of Music & Dance Studies 13, 129–139.Google Scholar
Vertinsky, A (1989) Chetvert’ Veka Bez Rodiny: Stranitsy Minuvshego. Kiev: Muzychna Ukraiina.Google Scholar
Vodarsky-Shiraeff, A (1940) Russian Composers and Musicians: A Biographical Dictionary. New York: HW Wilson Co.Google Scholar
Woodall, GC (2022) Constan town sounds: multidirectional movement of early jazz in the 1920s. In Dietze, A and Vari, A (eds), Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s. New York: Routledge.Google Scholar
Yetka, R (1922) La musique turque. In Lavignac A (ed.), Encyclopédie de la musique et dictionnaire du conservatoire. Vol. 5. Paris: Delagrave, 2945–3064.Google Scholar
Yıldız, B (2019) Gomidas Vartabed ve “Ermeni müziği” icrasında otantisite tartışması. In Yıldız B and Bilal M (eds), Kalbim o Viran Evlere Benzer: Gomidas Vartabed’in Müzik Mirası. İstanbul: Birzamanlar Yayıncılık.Google Scholar
Aristoteleos University Library, Thessaloniki, Greece
Google Scholar
Próti Megáli Sinavlía tis Periódou 1920–1921 n.d. Concert Program. Florou Collection.Google Scholar
Başbakanlık Osmanlı Arşivi, İstanbul, Turkey
Google Scholar
DH.UMVM (Dahiliye Nezareti Umur-ı Mahalliye ve Vilayat Müdürlüğü Evrakı).Google Scholar
DH.EUM.AYŞ (Dahiliye Nezareti Emniyet-i Umumiye Müdüriyeti Asayiş).Google Scholar
DH.EUM.2.Sb (Dahiliye Nezareti Emniyet-i Umumiye Müdüriyeti İkinci Şube).Google Scholar
HR.SYS (Hariciye Nezareti Siyasi Kalemi).Google Scholar
Centre des Archives Diplomatiques de Nantes, Nantes, France
Google Scholar
Direction du Jardin Municipal Petits-Champs Garden Music-Hall to French Commander-in-Chief n.d. 36 PO/1/36.Google Scholar
High Commissioners’ Meeting 3 March 1922. 36 PO/1/405.Google Scholar
Michotte de Walle et al. to French High Commissioner 31 July 1922. 36 PO/1/406.Google Scholar
Neratow to French High Commission 19 February 1921. 36 PO/1/406.Google Scholar
Ordres jugées par le secteur français de la police 26 October 1922. 36 PO/1/405.Google Scholar
Petition to French High Commission 29 October 1919. 36 PO/1/36.Google Scholar
Société Ottoman Bosphore to French High Commissioner n.d. 36 PO/1/406.Google Scholar
Macedonian Conservatoire, Thessaloniki
Google Scholar
Floros E (1945) Ypomnima. Unpublished memoir.Google Scholar
Grand Concert (1919). Concert Program.Google Scholar
Middle East Centre Archives, St Antony’s College, Oxford
Google Scholar
Wheeler GE (1960) 50 years in Asia. Unpublished memoir. GB 165-0298.Google Scholar
National Archives, London, England
Google Scholar
Appendix B to British Commander-in-Chief to British High Commissioner 25 October 1922. FO 371/8167.Google Scholar
Appendix C to British Commander-in-Chief to British High Commissioner 25 October 1922. FO 371/8167.Google Scholar
British Commander-in-Chief to British High Commissioner 12 April 1920. FO 371/5046.Google Scholar
Service Historique de la Defense, Vincennes, France
Google Scholar
Report of Capt. Bally 15 March 1920. 20N 1225.Google Scholar
Adalar Postası, 2018Google Scholar
İkdam,1920–1922Google Scholar
Orient News, 1919–1922Google Scholar
Stamboul, 1919–1922Google Scholar
Aksoy, B (1985) Tanzimattan cumhuriyete musiki ve batılaşma. In Tanzimattan Cumhuriyete Türkiye Ansiklopedisi. Vol. 5. İstanbul: İletişim Yayınları, 1211–1236.Google Scholar
Akyoldaş, S (2022) Geç Osmanlı’da müziğin araçsallaştrılışını Alman külübü Teutonia üzerinden okumak. In Bali S (ed.), İstanbul’un Çoksesli Batı Müziği Tarihi. İstanbul: İstanbul Büyükşehir Belediyesi.Google Scholar
Ayangil, R (2018) Dârü’l-elhân’dan günümüze müzik hâfızamız. In Yahya Kaçar G (ed.), Kuruluşun Yüzüncü Yılında Dârü’l-elhan’a Armağan. İstanbul: Atatürk Kültür Merkezi Başkanlığı.Google Scholar
Ayas, OG (2013) Klasik Türk müziği geleneğinde süreklilik ve değişim: erken cumhuriyet dönemi müzikte batılılaşma politikalarına karşı uyum ve direnç örüntüleri. PhD dissertation, Social Science Institute, İstanbul University.Google Scholar
Barber, TX (1986) Four interpretations of Mevlevi Dervish dance, 1920–1929. Dance Chronicle 9(3), 328–355.Google Scholar
Blackthorne-O’Barr, E (2021) Singing on “the world’s stage”: Kanto and late Ottoman social life. Kadim 2, 13–32.Google Scholar
Bozkurt, A (2014) İtilaf Devletlerin İstanbul’unda İşgal Yönetemi. Ankara: Atatürk Araştırma Merkezi.Google Scholar
Brigg, EW and Hessenstein, AA (1922) Constantinople Cameos. İstanbul: British Chamber of Commerce.Google Scholar
Doğrusöz, N (2021) Ali Rifat Bey’in İstiklal Marşı bestesi. In Doğrusöz N and Kaya CV (eds), Ali Rifat Çağatay: Mûsikî Yazıları. İstanbul: Vakıfbank Kültür Yayınları.Google Scholar
Ekmekcioğlu, L (2016) Recovering Armenia: The Limits of Belonging in Post-Genocide Turkey. Stanford, CA: Stanford University Press.Google Scholar
Erol, M (2013) Surveillance, urban governance and legitimacy in late Ottoman Istanbul: spying on music and entertainment during the Hamidian regime (1876–1909). Urban History 40(4), 706–725.Google Scholar
Erol, M (2015) Greek Orthodox Music in Ottoman Istanbul: Nation and Community in the Era of Reform. Bloomington and Indianapolis, IN: Indiana University Press.Google Scholar
Ertuğrul, M (1989) Benden Sonra Tufan Olmasın. İstanbul: Dr. Nejat F. Eczacıbaşı Vakfı Yayınları.Google Scholar
Gill, J (2020) Hollywood Double Agent: The True Tale of Boris Morros. New York: Abrams Press.Google Scholar
Haynes, JE and Klehr, H (2006) Early Cold War Spies: The Espionage Trials that Shaped American Politics. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Himelstein, L (2009) The King of Vodka: The Story of Pyotr Smirnov and the Upheaval of an Empire. New York: Harper Business.Google Scholar
Isheyev, PP (1959) Oskolki Proshlogo, Vospominaniya 1889–1959. New York: privately published.Google Scholar
Jordan, PA (2016) Stalin’s Singing Spy: The Life and Exile of Nadzedhza Plevitskaya. London: Rowman and Littlefield.Google Scholar
Kalkman, W (2015) Refugee in Constantinople (Istanbul, Turkey). Available at https://sergeibortkiewicz.com/life-in-istanbul/ (accessed 4 May 2023).Google Scholar
Karabey, L (1953) Şark Musiki Cemiyeti Nasıl Teşekkül Etti. Musiki Mecmuası 60, 356–360.Google Scholar
Karahasanoğlu, S and Doğan, E (2017) Yunanistan’da Mübadilliğin Kültürel Simgesi Anadolu Türküleri: Konyalı Türküsü. Porte Akademik 14/15, 116–133.Google Scholar
Karataşer, B (2020) Himaye-i etfal cemiyetinin gelirleri üzerine bir değerlendirme. Tarih Araştırmaları Dergisi 39, 551–568.Google Scholar
Khuri-Makdisi, I (2010) The Eastern Mediterranean and the Making of Global Radicalism, 1860–1914. Berkeley: University of California Press.Google Scholar
Kuyumjian, RS (2001) Archaeology of Madness: Komitas, Portrait of an Armenian Icon. Reading: Taderon Press.Google Scholar
MacArthur-Seal, D-J (2021) Britain’s Levantine Empire, 1914–1923. Oxford: Oxford University Press.CrossRefGoogle Scholar
Manas, E (2022) Edgar Manas Efendi İstiklâl Marşının bestesiyle nasıl ilgilendi? In Türinay N and Karakılıç S (eds), Gurbet Yillari ve Türkiye Dönüşünde Mehmet Akif. Ankara: TBMM Basımevi, 269–270.Google Scholar
Mestyan, A (2011) “A garden with mellow fruits of refinement”: music theatres and cultural politics in Cairo and Istanbul, 1867–1892. PhD dissertation, Department of History, Central European University, Budapest.Google Scholar
Morfessi, Y (1931) Zhizn, Lyubov, Stsena. Vospominaniya Russkogo Boyarina. Paris: Starina.Google Scholar
Murphy, M (2018) The “hole-y city”: British soldiers’ perceptions of Jerusalem during its occupation, 1917–1920. In Clarke, J and Horne, J (eds), Militarized Cultural Encounters in the Long Nineteenth Century: Making War, Mapping Europe. Basingstoke: Palgrave Macmillan.Google Scholar
O’Connell, JM (2018) Commemorating Gallipoli Through Music: Remembering and Forgetting. Lanham: Lexington Books.Google Scholar
Özbek, N (2016) Osmanlı İmparatorluğu’nda Sosyal Devlet: Siyaset, İktidar ve Meşrutiyet 1876–1914. İstanbul: İletişim Yayınları.Google Scholar
Palomino, P (2020) The Invention of Latin American Music: A Transnational History. Oxford: Oxford University Press.CrossRefGoogle Scholar
Papadopoulos, AG (2017) Rembetika as embodiment of Istanbul’s margins: musical landscapes in and of transition. In Papadopoulos AG and Duru A (eds), Landscapes of Music in Istanbul: A Cultural Politics of Place and Exclusion. Bielefeld: Transcript, 47–83.Google Scholar
Petsche, J (2012) G. I. Gurdjieff’s piano music and its application in and outside “The Work.” In Cusack CM and Norman A (eds), Handbook of New Religions and Cultural Production. Leiden: Brill.CrossRefGoogle Scholar
Salgam, A (2011) Osmanlı’da musiki devrimi. Felsefe Sosyal Bilimler Dergisi 4(14), 59–61.Google Scholar
Stein, O (2019) Propagandisten des Kuk Vielvölkerreiches: Österreichisch-Ungarische Soldaten im Osmanischen Reich Während des Ersten Weltkrieges. Militaergeschichtliche Zeitschrift 78, 412–441.CrossRefGoogle Scholar
Taranç, B (1988) Muhlis Sabahattin’de Türk ve batı müziği etkileşimleri. Master’s dissertation, Social Science Institute, Eylül University, İzmir.Google Scholar
Töker, H (2017) Ali Rifat Çağatay evrakında yer alan İstiklal Marşı ile alakalı belgelerden hareketle ilk resmî İstiklal Marşı bestemiz. In Döğrusoz N and Ergur A (eds), Musikinin Asrî Prensi: Ali Rifat Çağatay. Ankara: Gece Kitaplığı, 133–180.Google Scholar
Tongo, G (2015) Artist and revolutionary: Panos Temlemezian as an Ottoman Armenian painter. Études Arméniennes Contemporaines 6, 111–153.CrossRefGoogle Scholar
Uçan, A (2022) İstanbul’un çoksesli batı müziği yaşamı, kültürü ve eğitimi geçmişine genel bir bakış. In Bali, S (ed), İstanbul'un Çok Sesli Batı Müziği Tarihi. İstanbul: İBB Kültür AŞ.Google Scholar
Üngör, U (2012) Orphans, converts, and prostitutes: social consequences of war and persecution in the Ottoman Empire, 1914–1923. War in History 19(2), 173–192.Google Scholar
Ünlü, C (2004) Git Zaman Gel Zaman: Fonograf – Gramofon – Taş Plak. İstanbul: Pan Yayıncılık.Google Scholar
Üre, P (2020) Remnants of empires: Russian refugees and citizenship regime in Turkey, 1923–1938. Middle Eastern Studies 56(2), 207–221.CrossRefGoogle Scholar
Uyar, YM and Karahasanoğlu, S (2016) The early performance of jazz music in Turkey. Porte Akademik: Journal of Music & Dance Studies 13, 129–139.Google Scholar
Vertinsky, A (1989) Chetvert’ Veka Bez Rodiny: Stranitsy Minuvshego. Kiev: Muzychna Ukraiina.Google Scholar
Vodarsky-Shiraeff, A (1940) Russian Composers and Musicians: A Biographical Dictionary. New York: HW Wilson Co.Google Scholar
Woodall, GC (2022) Constan town sounds: multidirectional movement of early jazz in the 1920s. In Dietze, A and Vari, A (eds), Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s. New York: Routledge.Google Scholar
Yetka, R (1922) La musique turque. In Lavignac A (ed.), Encyclopédie de la musique et dictionnaire du conservatoire. Vol. 5. Paris: Delagrave, 2945–3064.Google Scholar
Yıldız, B (2019) Gomidas Vartabed ve “Ermeni müziği” icrasında otantisite tartışması. In Yıldız B and Bilal M (eds), Kalbim o Viran Evlere Benzer: Gomidas Vartabed’in Müzik Mirası. İstanbul: Birzamanlar Yayıncılık.Google Scholar