Examination of the musical transformation and development process of polyphonic Turkish marches (1826-2023)

This study examines the musical transformation and development processes of Turkish marches over nearly two centuries, from 1826 to the present. The aim of the research is to reveal the musical transformations of marches throughout the historical continuum extending from the Ottoman Empire to the Republic and contemporary Turkey. Based on the assumption that marches are a musical genre capable of reflecting the social, cultural, and political dynamics of their time, potential musical transformations have been systematically investigated. Polyphonic marches began to be composed by foreign musicians who were brought to the Musika-i Hümayun (Imperial Band) during the modernization process initiated under Sultan Mahmud II. In this initial period, it was observed that the melodic and rhythmic structures -predominant in mehter music- remained at the forefront in polyphonic Turkish marches, while other musical components were designed in a relatively simple manner. The formal structure had not yet become well-defined; instrumentation was melody-oriented, and no significant changes were made in instrumental groupings. In this respect, the Establishment Period of Musika-i Hümayun (1826-1876) represents a transitional phase. During the First Constitutional Era (1876-1908), an early yet highly significant period, the march form exhibited considerable development while retaining traditional elements. Two -or three- part lied forms were combined with the three-part trio. With an innovative approach to melody, bass themes were introduced. Modulations were employed in the trio's, changes in instrumental groupings were observed, and dynamic climax were created. Thus, the First Constitutional Era marks a developmental phase for the march form. The Second Constitutional Era (1908-1923), on the other hand, can be characterized as a period of preservation rather than innovation. The formal, rhythmic, harmonic, and dynamic structures were maintained, while melodies and accompaniments evolved into a two-layered texture. Hence, this period largely preserved the existing musical framework. The Republican Period (1923-1950) constituted a major phase of transformation and advancement for Turkish marches, paralleling the general progress of polyphonic music in Turkey. Modal scales were no longer employed, and variations were introduced in the second statements of melodies through dynamic and instrumental alterations. Melodic lines in the accompaniment and bass increased, while the "mehter sofyan" rhythmic pattern was relegated to the background. Tempo expressions were added; modulations were abandoned. The dynamic structure was organized at the phrase level, and climax were placed in the final sections of marches. Instrumental groupings changed throughout all sections. Consequently, the Republican Period represents the establishment of a new march form. The Cold War Period (1950-1980) was evaluated as a period of regression for Turkish marches. Trio's were reduced to a single-part structure, and melodies evolved into three-layered textures, reverting largely to pre-Republican stylistic features. The Neo-Liberal Period (1980-2000) marked a revival in which the stagnation of the previous era was overcome and the advancements of the Republican Period were re-established. Modal scale (Aeolian) and canon were incorporated into melodies, while serial passages and call-response structures were used in bass lines. Distinct rhythmic patterns were designed for each section, and the accompaniment and bass lines were shaped in accordance with the overall form and melodic structure. The Millennium Period (2000-2023) can be defined as a period of stylistic transformation. Rhythmic structures diversified, harmonic structures were more intricately designed, and new chord progressions were utilized. The influence of popular music identified within the harmonic and rhythmic designs is interpreted as an instance of cross-genre interaction. Methodologically, the study employs a descriptive qualitative research approach, utilizing structural analysis techniques and a survey model. A historical and comparative case study was conducted on polyphonic march notations obtained from various archives. Within the research design developed through the deductive method, critical historical events and periods were examined, leading to the identification of seven distinct eras. A total of 538 polyphonic Turkish march notations were accessed, among which 397 could be chronologically organized. From these seven periods, 16 marches deemed representative in terms of form, melody, rhythm, harmony, and instrumentation were analyzed in detail. The musical analyses focused on form, melody, rhythm, harmony, dynamics, musical expression, and orchestration. Ultimately, this study provides a periodical analysis of the approximately two-hundred-year evolution of polyphonic Turkish marches (1826-2023), revealing their musical transformations. In this context, the research not only presents a chronology of polyphonic Turkish marches but also contributes uniquely to the understanding of their structural and historical development.