An analysis of the cultural elements shaping the musical identity of kanuni Ahmet Yatman

Abstract

Ahmet Yatman occupies a distinguished position among 20th-century Turkish qanun performers due to his mastery in improvisation (taksim) and accompaniment, his widely acknowledged musicality, and his performances across various musical genres on the qanun, a traditional instrument that was prominently featured in his time, places him in a special position within the history of Turkish qanun performance. Living in a century marked by significant shifts, he witnessed firsthand both the transformation of Turkish modal music under Western cultural influences and the changes in music shaped by popular culture and communication concepts, and he adapted his artistic life harmoniously to these processes. His status as a sought-after musician in popular music circles of his time, and his high-level performances in domestic and international concerts, music hall shows, radio broadcasts, private concerts, and recording projects, as well as his rich and diverse repertoire in musical genres, are clear indicators of this adaptability.This study focuses on the elements of his career that reflect these transformative processes and examines his musical identity within the cultural contexts that influenced his musicianship. His music education is discussed with an emphasis on stylistic transmission; following this, the study analyzes the historical culture of the Fener-Balat-Ayvansaray district, where he was born and raised. Additionally, the connections between his Gypsy/Romani identity and musical identity are explored, alongside an examination of his work in the palace, radio, and music hall settings. His extensive repertoire, developed through his significant international work, is also highlighted with a focus on genre diversity, outlining the main aspects of his musicianship. Unlike the traditional meşk (master-apprentice) system, Yatman primarily learned the qanun through practical experience in various venues, and the multicultural structure of the Fener-Balat-Ayvansaray district, comprising Armenians, Jews, Greeks, and Romani, influenced his music and facilitated his adaptation to international music genres, making it one of the study’s notable findings. The study employs document analysis, one of the qualitative research methods.