This thesis is about the presentation of the Turks in operas of the West-ern European nations. I will have a look at which different roles where used to describe the Turks. In the sense of this paper the term “Turk” does not restrict its perspective to the area of the modern Republic of Turkey. As, for example, Preibisch (1908, p13) notes: during the 18th century composers did not distinguish between, for example, Persia and Turkey. Pahlen (1980, p12) even suggests that the whole Arabian community was regarded as Turkish. Moreover, except other Arabian countries sometimes even China and India were regarded as “Turkey” (Whaples 1998, p4). To be precise, this inaccuracy can be applied to a lot of other countries that were part of the Ottoman Empire like Egypt, Algeria, and so on. However, although some of the operas that will be discussed in this paper do not play in Turkey or contain Turkish charac-ters but are placed in neighboring countries of the Ottoman Empire or contain characters from these countries, these works will also be dis-cussed because from the perspective of our ancestors, they all display Turkish elements. The definition of Turkish that will be used in this pa-per is therefore similar to that used by Griffel (1975, p85ff) and is based on a rather dynamic concept. This means, when analyzing an opera concerning its “Turkishness”, the common perspective of the time has to be kept in mind.
Apart from that, I will analyze how the typical characters changed over the course of time keeping in mind the historical background. This is achieved by comparing similar characters from different operas with each other.
As we will see, basically the timeline can be separated in three different parts. In the baroque-period the Turks were generally viewable in heroic roles which fitted to the concept of the opera seria. Then, the upcoming of the opera buffa made it possible to exaggerate elements of Turkish culture and characters in order ridicule them. On the other side, due to the beliefs of the Era of Enlightenment, Turkish characters were used as a mean to show the deficiencies of European culture.
Inhaltsverzeichnis (Table of Contents)
- 1. Introduction
- 2. The Turks
- 2.1 Historical Overview
- 2.1.1 Rise of the Ottoman Empire
- 2.1.2 and Fall of the Ottoman Empire
- 2.2 The Opinion of Europeans
- 2.1 Historical Overview
- 3. Turkish Music and its Imitations
- 3.1 Military Music
- 3.1.1 Janissary Music
- 3.1.1.1 Instrumentation
- 3.1.1.2 Music
- 3.1.1.3 Reception
- 3.1.2 Alla Turca Style
- 3.1.1 Janissary Music
- 3.2 Other Styles
- 3.3 After the late 18th Century
- 3.1 Military Music
- 4. Overview of Operas
- 4.1 Italian
- 4.2 French
- 4.3 English
- 4.4 German
- 4.5 Interim Results
- 5. "Opera-Turks" in Detail
- 5.1 Monarchs
- 5.2 Guards and Henchmen
- 5.3 Funny and Stupid Turks
- 5.4 Women
- 5.5 Miscellaneous Elements
- 5.6 Résumé
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This thesis aims to analyze the portrayal of Turks in Western European operas, examining how their roles and characterizations evolved over time. The study investigates the influence of historical events and perceptions of Turkish culture on the musical and dramatic representations of Turks on the opera stage.
- The historical context of European-Ottoman relations and its impact on operatic portrayals of Turks.
- The development and use of "Turkish" musical styles in Western European operas.
- The stereotypical characterizations of Turks in opera, including their roles as monarchs, soldiers, and comedic figures.
- The evolution of these stereotypes over time and across different national opera traditions.
- The relationship between musical style and character portrayal in depicting Turks on the opera stage.
Zusammenfassung der Kapitel (Chapter Summaries)
1. Introduction: This introductory chapter sets the stage for the thesis by establishing the historical context of European-Ottoman relations, beginning with their first major military confrontation in 1389. It highlights the long history of conflict and the resulting negative stereotypes of Turks in European minds. The chapter then introduces the use of "exotic" elements, including Turkish themes, in European operas, suggesting that the fear and fascination with the Turks fueled their inclusion in operatic productions. Finally, the chapter outlines the thesis's central questions concerning the portrayal of Turks in opera, their changing characterizations over time, and the identification of significant trends in their representation.
2. The Turks: This chapter provides a historical overview of the Ottoman Empire, discussing its rise and fall, and then explores how Europeans perceived the Ottoman Empire and its people throughout history. It details how these perceptions – often shaped by military conflicts and political anxieties – influenced the eventual portrayal of Turks in Western European art, including opera. The chapter sets the groundwork for understanding the cultural baggage associated with the image of "the Turk" which would shape artistic representations.
3. Turkish Music and its Imitations: This chapter delves into the incorporation of Turkish musical elements into Western European music, focusing particularly on military music, such as Janissary music, and its stylistic adaptation known as "alla turca." It analyzes the instrumentation, musical characteristics, and reception of these styles, tracing their evolution and influence on the creation of "Turkish" musical identities within operatic compositions. The chapter explores how these musical elements contributed to the creation of specific on-stage characters and atmospheres, shaping the overall perception of "Turkishness" in operas.
4. Overview of Operas: This chapter offers a comparative overview of how "Turkish" characters and themes were presented in operas from various European countries (Italian, French, English, and German). By providing a broad survey across national traditions, this section sets the context for a deeper examination of specific operatic works and their unique portrayals of Turks in subsequent chapters. This overview highlights both commonalities and differences in the depiction of Turks within different national operatic styles.
5. "Opera-Turks" in Detail: This chapter presents a detailed analysis of various "Turkish" character types that frequently appeared in Western European operas. It examines the representation of monarchs, guards, comical characters, and female figures, providing specific examples from various operas to illustrate the distinct roles and stereotypes associated with each type. This chapter moves beyond a general survey to provide in-depth analyses of specific characterizations, demonstrating how composers employed both musical and dramatic elements to reinforce pre-existing perceptions of Turks.
Schlüsselwörter (Keywords)
Opera, Turkish music, Ottoman Empire, stereotypes, cultural exchange, musical clichés, Janissary music, alla turca, character portrayal, historical context, European perceptions.
Frequently Asked Questions: Analysis of the Portrayal of Turks in Western European Operas
What is the main topic of this thesis?
This thesis analyzes how Turks were portrayed in Western European operas, examining the evolution of their roles and characterizations over time. It investigates the impact of historical events and perceptions of Turkish culture on these operatic representations.
What are the key themes explored in this thesis?
The thesis explores the historical context of European-Ottoman relations and its influence on operatic portrayals of Turks; the development and use of "Turkish" musical styles in Western European operas; the stereotypical characterizations of Turks (monarchs, soldiers, comedic figures); the evolution of these stereotypes across different national opera traditions; and the relationship between musical style and character portrayal in depicting Turks on the opera stage.
What is covered in the introduction chapter?
The introduction sets the historical context of European-Ottoman relations, highlighting the long history of conflict and resulting negative stereotypes. It introduces the use of "exotic" elements, including Turkish themes, in European operas, and outlines the thesis's central questions regarding the portrayal of Turks in opera.
What does the chapter on "The Turks" discuss?
This chapter provides a historical overview of the Ottoman Empire's rise and fall and explores how Europeans perceived the Ottoman Empire and its people. It details how these perceptions influenced the portrayal of Turks in Western European art, including opera.
What is the focus of the chapter on "Turkish Music and its Imitations"?
This chapter examines the incorporation of Turkish musical elements into Western European music, particularly focusing on military music like Janissary music and "alla turca." It analyzes their instrumentation, musical characteristics, and reception, and how these elements contributed to the creation of specific on-stage characters and atmospheres.
What does the chapter on "Overview of Operas" cover?
This chapter offers a comparative overview of how "Turkish" characters and themes were presented in Italian, French, English, and German operas, highlighting both commonalities and differences in their depiction within different national operatic styles.
What is detailed in the chapter on ""Opera-Turks" in Detail"?
This chapter provides a detailed analysis of various "Turkish" character types frequently appearing in Western European operas. It examines the representation of monarchs, guards, comical characters, and female figures, providing specific examples from various operas.
What are the keywords associated with this thesis?
Opera, Turkish music, Ottoman Empire, stereotypes, cultural exchange, musical clichés, Janissary music, alla turca, character portrayal, historical context, European perceptions.
What is the overall structure of the provided document?
The document presents a comprehensive preview of a thesis, including a table of contents, objectives and key themes, chapter summaries, and keywords. It offers a structured overview of the research and its findings.
What is the intended audience for this document?
This document appears intended for academic use, providing a structured overview of a thesis for researchers or those interested in the topic of the portrayal of Turks in Western European operas.
- Quote paper
- Dipl.-Kfm., Mag. art. Christoph Yew (Author), 2009, The Turk on the Opera Stage, Munich, GRIN Verlag, https://www.grin.com/document/141533
