Akademik Veri Yönetim Sistemi
Yegah Musicology Journal, cilt.8, sa.2, ss.745-779, 2025 (Scopus)
This study examines the musical identity and works of Ulvi Cemal Erkin, one of the important figures of the Turkish music reform in the Republican era and one of the composers of the “Turkish Five”. This article particularly discusses how Erkin combines Anatolian folk music with Western classical music forms through his work “String Quartet”. Furthermore, his place in the Turkish Quintet, his contributions as an educator and conductor, and his influence on the development of polyphonic music in Turkey are analyzed. In the study, the methods of literature review and musical analysis were used. The scores of the piece were analyzed in detail and evaluated in terms of harmony, form and historical context. In the piece, makam transitions, pentatonic scales, syncopated rhythms and traditional dance motifs (horon, zeybek) are combined with Western musical techniques. Musical elements such as pizzicato, glissando and syncopation reflect the unique timbres of Turkish music. In this respect, Erkin's music is similar to the universal music approach of nationalist composers such as Bartók. Erkin's education at the Paris Conservatory enabled him to blend the influences of French romanticism and impressionist music with the local colors of Anatolia. “String Quartet” is a successful example that combines the emotional expression of traditional long airs and laments with the Western sonata form. This work shows that Erkin's music not only creates a national identity, but also represents Turkey on the international music scene. It is thought that this study will be an alternative source for understanding the technical and cultural dimensions of Erkin's music. In conclusion, Ulvi Cemal Erkin's works are a successful reflection of the cultural modernization process of the Republic. His musical language, which brings together the traditional and the modern, maintains its importance today.