Women Composers' Creative Conditions Before and During the Turkish Republic

This research is focused on three Istanbulite composers, Leyla Han?mefendi, 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.

Nejla Melike Atalay studied musicology in Istanbul (Mimar Sinan University) and Vienna. She graduated with a PhD from the University of Music and Performing Arts Vienna (mdw). Her doctoral thesis was awarded the Herta und Kurt Blaukopf-Award in 2019.

Autorentext
Nejla Melike Atalay studied musicology in Istanbul (Mimar Sinan University) and Vienna. She graduated with a PhD from the University of Music and Performing Arts Vienna (mdw). Her doctoral thesis was awarded the Herta und Kurt Blaukopf-Award in 2019.

Zusammenfassung
This research is focused on three Istanbulite composers, Leyla Hanmefendi, 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.

Inhalt
Acknowledgements

Preliminary Remarks on Various Uses
of the Ottoman/Turkish Language

List of Abbreviations

List of Examples

List of Tables

List of Figures

List of Visuals

Introduction

CHAPTER I
Terminological Definitions in Ottoman/Turkish Music

CHAPTER II
Institutionalisation of Western Music in the Ottoman Empire
and in the Turkish Republic in Music Historiography

CHAPTER III
Women Musicians of Late Ottoman Istanbul

CHAPTER IV
Conditions of Production

CHAPTER V
Conditions of Production II (on the Personal Level)

CHAPTER VI
Music Historiography in Turkey Focusing on 'Women Composers'

CHAPTER VII
Places of Production and Creation

Conclusion

Bibliography

Appendices