Kanto (music)
| Music of Turkey | |
|---|---|
| General topics | |
| Genres | |
| Specific forms | |
| Ethnic music | |
| Turkish marches | |
| Media and performance | |
| Music awards | |
| Music charts | |
| Music festivals | |
| Music media | |
| Nationalistic and patriotic songs | |
| National anthem | Independence March |
| Regional music | |
| Kanto(Cantare Music) | |
|---|---|
| Stylistic origins | Italian music, Turkish music, Greek Music, Armenian music |
| Cultural origins | 1900s Turkey |
| Typical instruments | trumpet, trombone, violin, Trap drum and cymbals |
| Other topics | |
| Turkish music, Italian music, Greek Music, Armenian music | |
Kanto,(Turkish: Kanto,Greek: Κάντο) is a popular genre of Turkish music.
Italian opera and theater had a profound effect on Turkish culture during the early 20th century. The terminology of music and theater derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "sahano", backstage was referred to as "koyuntu", backdrops depicting countryside as "bosko", the applause as "furi", and the songs sung as solos or duets between the acts and plays were called "kanto" (as was the case with their Italian counterparts, the Turkish troupe members played songs and music before the show and between the acts to peak people's interest and draw in customers). Kanto were based on traditional eastern makam but performed with western instruments.
The improvised theatrical pieces were stage adaptations of the Karagöz (shadow puppet) and Orta Oyunu (form of Turkish theatre performed in the open air) traditions, although in a much more simplifled form. The themes explored in these traditional theater arts (as well as their stereotypes) were used as the framework for the new extemporaneous performances of the tuluat ("improvised") theater. In this way, kanto may be considered as the unifying feature of all tuluat theater.
Kanto is usually divided into two periods. The division, particulariy in terms of musical structure, is clear between the early kanto (1900s - 1923) and the kanto of the Post-Republican period (especially after the mid-1930s). It is further possible to identify two styles within the early period: Galata and Direklerarası (after the neighbourhoods of Old Istanbul).
The early period kanto tradition was nourished in Istanbul. The same was also true in the Post-Republican period. The city's large and diverse population provided the themes that were the mainstay of kanto. Kanto was heavily influenced by musical theatre, Balkan and Byzantine or Anatolian music (Karsilamas) (which was however often a subject of satire in kanto songs) and Greek music (Kalamatiano, Ballos, Syrtos) (especially the Istanbul Rum who were so fond of urban forms of entertainment). In other words, kanto was the resuit of cultural exchange and almost all the early kanto singers were either Rum or Armenian: Pepron, Karakas, Haim, Shamiram Kelleciyan, and Peruz Terzekyan (all of them performed during the period following 1903).
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Wikipedia