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Women Composers' Creative Conditions Before and During the Turkish Republic
A Case Study on Three Women Composers: Leyla Hanimefendi, Nazife Aral-Güran and Yüksel Koptagel
Buch (Gebundene Ausgabe, Englisch)
€75,00
inkl. gesetzl. MwSt.Beschreibung
Details
Einband
Gebundene Ausgabe
Erscheinungsdatum
14.10.2021
Verlag
Hollitzer WissenschaftsverlagSeitenzahl
516
Leyla Saz Hanimefendi, Nazife Aral-Güran, Yüksel Koptagel – Women Composers’ in Turkey
This research is focused on three Istanbulite composers, Leyla Hanimefendi, Nazife Aral-Güran, and Yüksel Koptagel, who lived and produced in consecutive and overlapping periods, from the Tanzimat Era of the Ottoman Empire to the Turkish Republic of the 1980s. It explores the composers’ productive and creative conditions through the socio-political environments of their times, their familial and educational backgrounds, and the social spaces in which they lived and worked. The institutionalisation of Western music and the education thereof occupy a significant place in understanding the composers’ relationships with Western music, the bonds they established with polyphonic music, and the development of their musical personalities as a consequence of their education, resultant from the opportunities provided by such developments. This study conjointly examines herstory and music historiography by employing alternative materials and creating its own narrative.
This research is focused on three Istanbulite composers, Leyla Hanimefendi, Nazife Aral-Güran, and Yüksel Koptagel, who lived and produced in consecutive and overlapping periods, from the Tanzimat Era of the Ottoman Empire to the Turkish Republic of the 1980s. It explores the composers’ productive and creative conditions through the socio-political environments of their times, their familial and educational backgrounds, and the social spaces in which they lived and worked. The institutionalisation of Western music and the education thereof occupy a significant place in understanding the composers’ relationships with Western music, the bonds they established with polyphonic music, and the development of their musical personalities as a consequence of their education, resultant from the opportunities provided by such developments. This study conjointly examines herstory and music historiography by employing alternative materials and creating its own narrative.
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