With the suggestions of Paul Hindemith, the Music Teachers' School, which had been teaching for twelve years, was transformed into the Ankara State Conservatory in 1936 and an instrument making workshop was established in this conservatory. An expert from Germany named Heinz Schafrat was appointed as the head of this workshop. II. With the outbreak of World War II, Schafrat returned to his country in 1939. He took over the flag when his assistants Abdullah Arseven, Necati Orbay and Mithat Arman Schafrat, whom he trained during this period, returned to Germany. Arseven, instrument maker in conservatory and opera; Orbay became a tuning and repair teacher at the Gazi Education Institute Music Department. Mithat Arman was responsible for the instrument making workshop.
Mithat Arman developed the Gazi Education Institute Instrument Making Workshop in 1939 and turned it into an Instrument Making Department, but the department was closed in 1943. This department was transferred to the Instrument Making Department opened in Ankara Male Technical Higher Teachers' School.
Arseven, who is an instrument making specialist in conservatory and opera, was born in 1946. Instrument Care and Repair It has published a 24-page guide brochure called This brochure deals with technical issues such as the maintenance and repair of some instruments.
In 1948, at the request of İsmet İnönü, the first Turkish piano was made by İbrahim Sakarya. This piano "II. Art Institute". Sakarya, in an interview, said that the piano was exhibited at the Technical Higher Teacher's School for Boys, that foreign guests thought the piano was a model and asked, "Does this piano make a sound?" He said that they asked questions such as "we did it" and told about the pride of saying.
The Instrument Making Department, which was transferred to the Ankara Boys' Technical Higher Teachers' School, was transferred to the Ankara State Conservatory again in 1957. Bahri Yakut and İbrahim Sakarya, the first graduates of this department, specialized in piano making, later graduates Nurettin Yalçın, Ethem Özen, Mesut Gözalan, Yunus Tarhan, string instruments, and Cafer Açın, in addition to piano making, specialized in the making and development of Turkish musical instruments.
Istanbul Turkish Music State Conservatory was established in 1975, and when Mithat Arman's student Cafer Açın was appointed as the head of the department in 1976, he established the Instrument Making Department of the Turkish Music State Conservatory. Students entered the school from two different majors, plectrum and string instruments, and learned how to make different instruments according to the instrument section they chose. In addition, there are music, solfege and culture lessons in the curriculum. In 1981, Turkish Music State Conservatory was affiliated to Istanbul Technical University. Thus, ITU became the first institution to teach the production of Turkish Music instruments under the roof of a university. This development later pioneered the instrument making departments established in other universities.
Bahaeddin Ögel in 1987, nine volumes Introduction to Turkish Cultural History IX of his book. published the volume. Subject of this volume Turkish Folk Music Instruments (from Uighurs to Ottomans) has been. In this work, which was written with the message that the thing that keeps the Turkish society alive is its culture, Turkish instruments are classified and it is tried to go down to the origins of these instruments.
Again in 1987, Cafer Açın, The Importance of Trees Used in Our Folk Instruments He drew attention to the subject of raw materials, namely wood, which is a very important part of organology. As much as there is a need for people to make good instruments, there is as much a need for providing the right and suitable wood.
In 1989, Ege University State Conservatory Instrument Making Department started its educational activities. There are two main branches of art in the department: string and plectrum instruments. The following courses are prerequisite for passing the class: Turkish Classical Music Solfege and Theory, Turkish Folk Music Solfeggio and Theory, Western Music Solfeggio and Theory and Vocational Instrument lessons, workshop lessons. As can be seen from the curriculum, a much more embracing musical understanding that embraces the east and the west has been adopted.
It was published by Açın in 1994. Instrument Science: Organology and published in 1995 Organology 2 His book, entitled Organology, made it possible to pass on to the literature and to draw its borders. Thus, in Turkey organology The word appears to be an open book cover. In addition, Açın's 1999 publication History and Introduction of Keyed Instruments: Piano Construction and Maintenancepublished in 2000 Baglama Production Art and Artists, also published in the same year Oud Production Art and Artistshis work in 2001 Classical Kemençe, Production Art and Artistshis work in 2002 Tanbur Production Art and Artistspublished in 2005 Violin Making Art and Artists studies such as these show that instruments have begun to be handled individually.
Parallel to these works of Açın, in 2001 Necdet Kalender's Instrument Making, Maintenance and Repair instruments in his article; he divided it into five as stringed instruments, woodwind instruments, percussion instruments, self-sounding instruments (bells), and transposed instruments; Cinuçen Tanrıkorur's book published in 2003 Ottoman Period Turkish Music'It is seen that ndeise collects instruments under 3 main headings as percussion, wind and string instruments. Regardless of what these classifications are based on, starting to classify instruments shows that instrument science has a place in the academic field.
Open, C. (1976). Musical Instrument Production in Turkey and Our Musical Instruments, II. Abstracts of the International Congress of Turcology, Istanbul, 59-61.
Open, C. (1994). Instrument Science: Organology. Istanbul: Yenidogan Press.
Open, C. (1995). Organology 2. Istanbul: Yenidogan Press.
Open, C. (1999). Keyed instruments and their history and presentation: piano construction and maintenance. Istanbul.
Open, C. (2000). Baglama Production Art and Artists. Istanbul: Emek Press.
Open, C. (2000). Oud Production Art and Artists. Istanbul: Emek Press.
Open, C. (2001). Classical Kemençe, Production Art and Artists. Istanbul: Emek Press.
Open, C. (2002). Tanbur Production Art and Artists. Istanbul: Bilgi Publishing House.
Open, C. (2005). Violin Making Art and Artists. Istanbul: Bilgi Publishing House.
Akyol, A. (2013). Institutions Providing Training on String Instrument Making in Turkey, Abant İzzet Baysal University, Institute of Educational Sciences (Master's thesis), Bolu.
Arseven, A. (1946). Instrument Care and Repair. Ankara: CHP Publications.
Kalender, N. (2001). Instrument Making, Maintenance and Repair, Journal of Uludag University Faculty of Education, 1, 159-166.
Ogel, B. (1987). Introduction to the History of Turkish Culture IX, Ankara: Ministry of Culture and Tourism Publications.
Tankorur, T. (2003). Ottoman Period Turkish Music, Istanbul: Dergah Publications. 57
Trigger Light, S., Uslu, R. (2012). “Tree and Instrument Making Bibliography in Turkish Music”, Acta Turcica Journal of Thematic Turcology. 2, 24-41.