ABSTRACT
This chapter begins with reflection on personal trajectories, with stories about how we came to enter into a field of conversation, and where that conversation took us—often, far from our starting point. It needs to understand the global and regional circulation of non-Turkish musicians, instruments, and recordings. The chapter provides the global and regional circulation of Turkish musicians, instruments, and recordings (diaspora, exile, internal migration). It considers moments of self-conscious globalization in Turkish popular music history, specific moments at which "Turkish" pop, rock, and sound art have oriented themselves to "the world." Turkish art music of the 1950s drew on the Ottoman song tradition, the Westernizing influences of the late Ottoman period, and cosmopolitan popular song of the early Republican years. The arabesk of the 1970s bought together south-eastern and central Anatolian folk styles, Arabic-language popular and classical song from Lebanon and Egypt, Indian film music, and the already complexly hybridized world of Turkish art music.
