Musical identity of Pianist Feyzi Aslangil and indigenization of piano in Turkish art music tradition

The main subject of my thesis is to be to comprehend the musical identity of Feyzi Aslangil, who is known as a Turkish art music pianist, to analyze his performance behaviour and to examine the localization of piano in Turkish art music tradition through Aslangil. Introduction part of the thesis tries to locate a firm background as we emphasize the entry of piano into Ottoman Empire to discuss about the Turkish art music and it's performing examples on piano, based on the other known pianists and possible usage of the instrument during the Ottoman Empire era. Then comes the explanation of the extent of the topic and methods used during the thesis. First part of the thesis is built on an historical approach, supported with newspaper clippings which were published back in Aslangil's period to identify music environment he was involved in. A brief span of music education in Ottoman Empire is mentioned only to figure out the possible piano and music practices which eventually led to Aslangil's musical training and possibly shaped his musical identity. Second part of the thesis interprets the repertoire, chosen and performed by Aslangil. Pianist's repertoire choices are divided in three sub-topics as makam, form and composer. Which are explained seperately in order to comprehend his preferences within esthetic appreciation, technical suitability and musical possibility. Third pard of the thesis applies performance centered structural analysis on Aslangil's performing style to explicate the right hand ornaments and left hand techniques used by the pianist. Mentioned analysis brings concrete information about Aslangil's recreation process on analyzed pieces. Aslangil's acceptence by the tradition members is because he was trained and raised within the tradition of Turkish art music. He performed without breaking the genre's musical rules, he applied traditional wording in his performance. From a different point of view, piano was a strong object during the second half of 19th century's cultural center Istanbul where European lifestyle became an experience. Nevertheless, composers, of the pieces which were being performed by Aslangil often, were highly popular and respected during 19th century and 20th century. Therefore Aslangil, who performed their popular compositions on piano, was appreciated by society and members of tradition.