Fatih Akman
Fatih Akman, who was born in Istanbul in 1982, started his music education in 1997, after his primary and secondary education, by NDU Band NCO Vocational School HE. Completed his education in 2001, he held various positions at home and abroad.
He graduated from Anadolu University, Faculty of Economics, Department of Finance in 2005 with a bachelor's degree and started working with S. Murat Demiral in Istanbul University State Conservatory Tuba Department in the same year. In 2007, he took Jazz Harmony from Neşet Ruacan, Jazz Harmony and Orchestration lessons from Istanbul Technical University Music Advanced Research Center Instructor Emin Fındıkoğlu. He also took part in the jazz group "Uniqe Horns" founded by Emin Fındıkoğlu as a Tuba performer and gave many concerts in the country.
In 2009, he started his post graduate education at Mimar Sinan Fine Arts University Institute of Social Sciences, Department of Musicology, General Musicology Program. Professor Harmony with Hasan Uçarsu, Prof. Form Analysis with Mehmet Nemutlu, Folklore Theories with Melih Duygulu, Prof. He worked with Gülper Refiğ on Polyphonic Turkish Music in the Republican Period.
In 2012, he completed his master's degree with his thesis titled “Contributions of Halid Recep Arman to the Development of Polyphonic Turkish Music and Harmony Orchestra Repertoire” under the supervision of Prof.Gülper Refiğ.
In 2013, he started his PhD education at Mimar Sinan Fine Arts University Institute of Social Sciences, Department of Musicology, General Musicology Program. Literature and Music Interaction in the West with Prof.Gülper Refiğ; Comparative Music with Aydın Büke; Spectral Music and Time and Music and Temporality with Prof. Dr. Kıvılcım Yıldız Şenürkmez.
In 2017, he was appointed as lecturer at the NDU Band NCO Vocational School HE. At the international symposium on Music and Politics organized by the Ethnomusicology Association in 2018; He presented his paper titled “Institutionalization of Polyphonic Music in Afghanistan between 1933-1942 and Contributions of Halit Recep Arman to This Process”.
Akman graduated from MSGSU Department of Musicology in 2020 with a Ph.D. degree.
Akman, who has been a Tuba player in various military bands, jazz orchestras and symphony orchestras, still works as a Tuba/Euphonium lecturer at NDU Band NCO Vocational School HE.
He graduated from Anadolu University, Faculty of Economics, Department of Finance in 2005 with a bachelor's degree and started working with S. Murat Demiral in Istanbul University State Conservatory Tuba Department in the same year. In 2007, he took Jazz Harmony from Neşet Ruacan, Jazz Harmony and Orchestration lessons from Istanbul Technical University Music Advanced Research Center Instructor Emin Fındıkoğlu. He also took part in the jazz group "Uniqe Horns" founded by Emin Fındıkoğlu as a Tuba performer and gave many concerts in the country.
In 2009, he started his post graduate education at Mimar Sinan Fine Arts University Institute of Social Sciences, Department of Musicology, General Musicology Program. Professor Harmony with Hasan Uçarsu, Prof. Form Analysis with Mehmet Nemutlu, Folklore Theories with Melih Duygulu, Prof. He worked with Gülper Refiğ on Polyphonic Turkish Music in the Republican Period.
In 2012, he completed his master's degree with his thesis titled “Contributions of Halid Recep Arman to the Development of Polyphonic Turkish Music and Harmony Orchestra Repertoire” under the supervision of Prof.Gülper Refiğ.
In 2013, he started his PhD education at Mimar Sinan Fine Arts University Institute of Social Sciences, Department of Musicology, General Musicology Program. Literature and Music Interaction in the West with Prof.Gülper Refiğ; Comparative Music with Aydın Büke; Spectral Music and Time and Music and Temporality with Prof. Dr. Kıvılcım Yıldız Şenürkmez.
In 2017, he was appointed as lecturer at the NDU Band NCO Vocational School HE. At the international symposium on Music and Politics organized by the Ethnomusicology Association in 2018; He presented his paper titled “Institutionalization of Polyphonic Music in Afghanistan between 1933-1942 and Contributions of Halit Recep Arman to This Process”.
Akman graduated from MSGSU Department of Musicology in 2020 with a Ph.D. degree.
Akman, who has been a Tuba player in various military bands, jazz orchestras and symphony orchestras, still works as a Tuba/Euphonium lecturer at NDU Band NCO Vocational School HE.
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Videos by Fatih Akman
No. 1. Lovely on the water
No. 2. Spurn Point
No. 3. Van Diemen's Land
No. 4. The lady and the dragoon
Released on: 2022-12-31
Tuba: Fatih Akman
Piano: Naoko Aita
Composer: Ralph Vaughan Williams
Arrange: Michael Wagner
Ralph Vaughan Williams' Six Studies in English Folksong for Cello was arranged for tuba by Michael Wagner.
The piano accompaniment of the piece was played by Naoko Aita.
Conference Presentations by Fatih Akman
Because of its geographical location, Afghanistan has become a strategic target that various countries have tried to dominate throughout history. The lands of Afghanistan which captured by Persians, Macedonians, Arabs and Mongols since 500 BC. Afghanistan has also been exposed to the imperialist aims of Britain and Tsarist Russia in the 19th century and eventually won independence in 1919. In the same years, Mustafa Kemal Ataturk initiated the struggle for great existence of the Turkish people by throwing the first steps of liberation from the imperialist powers in Samsun. Afghan - Turkish relations are based on prehistoric times. The 20th century has been an era in which the two nations are in similar struggles and the seeds of close associations that turn into unity of fate.
With the declaration of the Republic, under the leadership of Ataturk, the cultural politics of the contemporary Turkish society was laid down and this struggle attracted the attention of other nations in the Islamic geography, especially in Afghanistan. Although it gained independence earlier than Turkey, Afghanistan has not to reach a contemporary level both institutional and socially. Atatürk has influenced the Afghan King Emanullah Khan with the struggle for modernization. Later, between the years 1926 -1945, with the request of the king, between Turkey and Afghanistan, particularly in education and health, it has signed cooperation agreements in various fields. One of the topics discussed in the framework of bilateral agreements has been in the field of music, one of the most important signs of cultural change. In this context, Halit Recep Arman was commissioned between 1933 - 1937 and 1938 - 1942 in order to establish polyphonic music institutions in Afghanistan on the order of the Ministry of National Defense. Arman, established a military band that called "Nûmune Mızıkası" as an Afghanistan's first polyphonic music institution. He has written many anthems and music tales, especially “The Afghan National Anthem”, which symbolizes the unification of the Afghan people on a common ideological frame. Arman, also opened courses for music education, achieved significant efforts in line with Afghanistan's modernization policy on behalf of the Republic of Turkey. In this study, the information about the first polyphonic music institution established in Afghanistan is based on the documents of primary source documents and other open source documents belonging to Halit Recep Arman, which is "UNSUFFICIENT", which are based on the application of Halay Recep Arman's son Türkay Arman . Halit Recep Arman Afghanistan mission work that is done along with, Turkey - Afghanistan will be discussed in the context of relationships The evaluations in this study reflect the individual opinion completely and do not reflect the views of the TSK and the National Defense University.
Thesis Chapters by Fatih Akman
ABSTRACT
The aim of this dissertation is to examine the thinking of Cengiz Tanc, one of the third generation composers who conributed to the development of contemporary Turkish polyphonic music, on nationalism and nationalistic music, on the basis of his compositions titled Evocations (Cagrisimlar), Synthesis I (Sentez I) and Echos (Yankilar), with a view to determine the effect of the composer’s perception of nationalism on his work.
The most important characteristic that distinguishes the composer, who uses almost all the aesthetic and structural parametres of 20th century music in his work, from others is that he has used, in an abstract manner, the elements of Turkish culture in this panorama of contemporariness.
In this dissertation, besides providing insight into Cengiz Tanc’s life, world of ideas, and views on nationalism, emphasis was given to nationalism, development of national music, studies on Turkish folk music, modernism and its effect on musical work. By thus providing information on the musical typology of the time, an effort was made to find out, wihin a conceptual framework, the subjects thought to have impacted the composer’s style.
Extensive research of literature was conducted to obtain the data that underlie the study. The qualitative data obtained were analysed and interpreted through techniques of document and content analysis, within the framework of sub-problems.
As a result of the analysis of the work it was seen that the composer’s work contained such modernist techniques of the time as limited aleatoric areas, multi-layered structures evolving to uncertainty, modal and serial row systems, partial applications of serialism, chromatism, an harmonic conception which can be referred to, from a certain aspect, as “quadruple harmony”, micropoliphony, sound clusters and sound blocs, quarter sound applications. Also observed was that the basic structures the composer uses in the drawing up of his compositions reflect certain design characteristics of Turkish folk music. Melismatic structures, melodic embellishment, descending motif construction, uncertain sound sequences and rhythmic structures, quarter sound use, and orchestral writing which displays tonal and technical features of various Turkish folk instruments can be shown as examples of these basic structures.
In conclusion, in light of the information gathered, it is determined that the compositions of Cengiz Tanc included in this dissertation are in conformity with the views of the composer on nationalism and nationalistic music. When this study is taken as a whole, it can be concluded that Cengiz Tanc in his views as well as in his compositions, is a contemporary composer who was able to infuse nationalistic inspiration into his compositions.
___________________________________________________________
Bu çalışmada, çağdaş Türk çoksesli müziğinin gelişimine katkı sağlayan 3. kuşak Türk bestecilerinden biri olan Cengiz Tanç’ın ulusalcılık ve ulusal müzik hakkındaki görüşlerinin Çağrışımlar, Sentez I ve Yankılar isimli yapıtları üzerinden ele alınarak, dönemin modernist teknikleri bağlamında incelenmesi ve bu çerçevede bestecinin ulusalcılık anlayışına dair bulguların yapıtlarına yansımalarının ortaya çıkarılması amaçlanmaktadır.
Yapıtlarında 20. yüzyıl müziğine dair estetik ya da yapısal neredeyse tüm parametreleri kullanan besteciyi diğerlerinden ayıran en önemli özellik ise tüm bu çağdaşlık panoraması içinde Türk kültürüne dair verileri soyut bir biçimde kullanmış olmasıdır.
Çalışmada, Cengiz Tanç’ın yaşamı, düşünce dünyası ve ulusalcılık görüşleri hakkında bilgi verilmesinin yanı sıra, ulusalcılık ve ulusal müziğin gelişimi; Türk halk müziği çalışmaları; modernizm ve müzik yapıtlarına etkileri üzerinde durulmuş, böylece dönemin müzik tipolojisi hakkında bilgi verilerek bestecinin üslubunu etkilediği düşünülen konular kavramsal bir çerçeve içinde ele alınmaya çalışılmıştır. Çalışmanın ilerleyen bölümlerinde ise söz konusu kavramsal çerçevenin Tanç’ın yapıtlarındaki yansımaları ayrıntılı olarak incelenmiştir.
Araştırmaya konu olan verilerin elde edilmesi için geniş çaplı bir literatür taraması yapılmıştır. Çalışmayla ilgili elde edilen nitel veriler, alt problemler çerçevesinde doküman ve içerik analizi teknikleriyle çözümlenmiş ve yorumlanmıştır.
Yapılan eser analizi neticesinde bestecinin yapıtlarında sınırlı rastlamsal alanlar, belirsizliğe doğru evrilen çok katmanlı yapılar, modal ve makamsal ses çekirdekleri, serializmin kısmi uygulamaları, kromatizm, belli bir bağlamda “dörtlü armoni” olarak adlandırılabilecek bir armoni anlayışı, mikropolifoni, salkım ses ve ses blokları ve çeyrek ses uygulamaları gibi dönemin modernist tekniklerinin kullanıldığı gözlemlenmiştir. Bestecinin yapıt tasarımında kullandığı temel yapıların ise Türk halk müziğinin bazı biçimsel özelliklerini yansıttığı gözlemlenmiştir. Türk halk müziğinde sıklıkla kullanılan melismatik yapılar, süsleme notalar, inici motif yapısı, kararsız ses dizilimleri ve ritmik yapılanmalar, çeyrek ses kullanımları, çeşitli halk müziği çalgılarının tınısal ve teknik özelliklerini sergileyen orkestra yazısı söz konusu temel yapılara örnek olarak gösterilebilir.
Sonuç olarak elde edilen bulgular neticesinde Cengiz Tanç’ın, bu çalışma içinde yer alan yapıtlarının, bestecinin ulusalcılık ve ulusal müzik üzerine olan görüşleri ile uyumlu olduğu tespit edilmiştir. Çalışma bütünüyle ele alındığında Cengiz Tanç’ın gerek görüşleriyle gerekse yapıtlarıyla, ulusalcı duyguları yansıtabilen çağdaş bir besteci olduğu sonucuna varılmıştır.
________________________________________________________
Halid Recep ARMAN, who was born in 1902 in Istanbul, began music education in Istanbul City Band in 1914. He had started teaching solfege, reading musical notes and music theory and had worked as orchestra chief for two years at the rank of “Warrant Candidate” in the naval band which moved in 1924 from “Kasımpaşa Barracks” to the primary training barracks (Sübyan Kışlası) in “Camialtı” neighborhood. ARMAN, who carried out duties of chief, flute performer and teacher in the navy, army and air forces of our country, has been sent to Afghanistan on duty and he had established there the Afghan Music Corps. Halid Recep ARMAN had been assigned as the head-teacher of the Band School of Navy on April 24, 1957 and he added too many artworks to the repertoire of “Harmonie Orchestras” by the important works in the field of music teaching, composing, being orchestra chief and music author. He played an important role in introducing the culture of our country by performing Turkish folk music compilations abroad through Harmonie Orchestras and he introduced the Polyphonic Turkish Music to the nation by performing compositions and arrangements in many different places of the country. He had served as a model along his carrier for his fellows by his work discipline, devotedness and diligence. He also contributed to the development of the polyphonic music of our country by the books and methods he authored in addition to the marches, overtures, fantastic artworks, waltz, tango and orchestral arrangements.
Books by Fatih Akman
1831 yılında batı müziği eğitimi veren bir diğer askerî müzik okulu ise bahriye bünyesinde kurulan Mahmudiye Mızıkasıdır. Bahriye mızıka okulları kuruluşundan günümüze değin gerek eğitim kadrosu gerekse eğitim sistemiyle, Mızıka-i Humayun ile birlikte çoksesli Türk müziğinin kurumsallaşma sürecine katkı sağlamış önemli eğitim kurumlarımızın başında gelmektedir.
Zaman içerisinde dönüşüme uğrayan askerî bando okulları, Cumhuriyet döneminde kurulan Musiki Muallim Mektebi, Ankara Devlet Konservatuarı, Gazi Üniversitesi Eğitim Fakültesi’nin Müzik Eğitimi Bölümü gibi günümüz çoksesli Türk müziği eğitim kurumlarının temellerini oluşturmuşlardır. Günümüzde askerî bando eğitimi halen Milli Savunma Üniversitesi (MSÜ) Bando Astsubay Meslek Yüksek Okulu (MYO) bünyesinde devam etmektedir.
Bu çalışmada Osmanlı döneminden günümüze Türk askerî bando okullarının gelişim süreci ele alınarak araştırmacılar ve tarih severler için bilgilendirici bir kaynak sunulmaya çalışılmıştır.
Papers by Fatih Akman
No. 1. Lovely on the water
No. 2. Spurn Point
No. 3. Van Diemen's Land
No. 4. The lady and the dragoon
Released on: 2022-12-31
Tuba: Fatih Akman
Piano: Naoko Aita
Composer: Ralph Vaughan Williams
Arrange: Michael Wagner
Ralph Vaughan Williams' Six Studies in English Folksong for Cello was arranged for tuba by Michael Wagner.
The piano accompaniment of the piece was played by Naoko Aita.
Because of its geographical location, Afghanistan has become a strategic target that various countries have tried to dominate throughout history. The lands of Afghanistan which captured by Persians, Macedonians, Arabs and Mongols since 500 BC. Afghanistan has also been exposed to the imperialist aims of Britain and Tsarist Russia in the 19th century and eventually won independence in 1919. In the same years, Mustafa Kemal Ataturk initiated the struggle for great existence of the Turkish people by throwing the first steps of liberation from the imperialist powers in Samsun. Afghan - Turkish relations are based on prehistoric times. The 20th century has been an era in which the two nations are in similar struggles and the seeds of close associations that turn into unity of fate.
With the declaration of the Republic, under the leadership of Ataturk, the cultural politics of the contemporary Turkish society was laid down and this struggle attracted the attention of other nations in the Islamic geography, especially in Afghanistan. Although it gained independence earlier than Turkey, Afghanistan has not to reach a contemporary level both institutional and socially. Atatürk has influenced the Afghan King Emanullah Khan with the struggle for modernization. Later, between the years 1926 -1945, with the request of the king, between Turkey and Afghanistan, particularly in education and health, it has signed cooperation agreements in various fields. One of the topics discussed in the framework of bilateral agreements has been in the field of music, one of the most important signs of cultural change. In this context, Halit Recep Arman was commissioned between 1933 - 1937 and 1938 - 1942 in order to establish polyphonic music institutions in Afghanistan on the order of the Ministry of National Defense. Arman, established a military band that called "Nûmune Mızıkası" as an Afghanistan's first polyphonic music institution. He has written many anthems and music tales, especially “The Afghan National Anthem”, which symbolizes the unification of the Afghan people on a common ideological frame. Arman, also opened courses for music education, achieved significant efforts in line with Afghanistan's modernization policy on behalf of the Republic of Turkey. In this study, the information about the first polyphonic music institution established in Afghanistan is based on the documents of primary source documents and other open source documents belonging to Halit Recep Arman, which is "UNSUFFICIENT", which are based on the application of Halay Recep Arman's son Türkay Arman . Halit Recep Arman Afghanistan mission work that is done along with, Turkey - Afghanistan will be discussed in the context of relationships The evaluations in this study reflect the individual opinion completely and do not reflect the views of the TSK and the National Defense University.
ABSTRACT
The aim of this dissertation is to examine the thinking of Cengiz Tanc, one of the third generation composers who conributed to the development of contemporary Turkish polyphonic music, on nationalism and nationalistic music, on the basis of his compositions titled Evocations (Cagrisimlar), Synthesis I (Sentez I) and Echos (Yankilar), with a view to determine the effect of the composer’s perception of nationalism on his work.
The most important characteristic that distinguishes the composer, who uses almost all the aesthetic and structural parametres of 20th century music in his work, from others is that he has used, in an abstract manner, the elements of Turkish culture in this panorama of contemporariness.
In this dissertation, besides providing insight into Cengiz Tanc’s life, world of ideas, and views on nationalism, emphasis was given to nationalism, development of national music, studies on Turkish folk music, modernism and its effect on musical work. By thus providing information on the musical typology of the time, an effort was made to find out, wihin a conceptual framework, the subjects thought to have impacted the composer’s style.
Extensive research of literature was conducted to obtain the data that underlie the study. The qualitative data obtained were analysed and interpreted through techniques of document and content analysis, within the framework of sub-problems.
As a result of the analysis of the work it was seen that the composer’s work contained such modernist techniques of the time as limited aleatoric areas, multi-layered structures evolving to uncertainty, modal and serial row systems, partial applications of serialism, chromatism, an harmonic conception which can be referred to, from a certain aspect, as “quadruple harmony”, micropoliphony, sound clusters and sound blocs, quarter sound applications. Also observed was that the basic structures the composer uses in the drawing up of his compositions reflect certain design characteristics of Turkish folk music. Melismatic structures, melodic embellishment, descending motif construction, uncertain sound sequences and rhythmic structures, quarter sound use, and orchestral writing which displays tonal and technical features of various Turkish folk instruments can be shown as examples of these basic structures.
In conclusion, in light of the information gathered, it is determined that the compositions of Cengiz Tanc included in this dissertation are in conformity with the views of the composer on nationalism and nationalistic music. When this study is taken as a whole, it can be concluded that Cengiz Tanc in his views as well as in his compositions, is a contemporary composer who was able to infuse nationalistic inspiration into his compositions.
___________________________________________________________
Bu çalışmada, çağdaş Türk çoksesli müziğinin gelişimine katkı sağlayan 3. kuşak Türk bestecilerinden biri olan Cengiz Tanç’ın ulusalcılık ve ulusal müzik hakkındaki görüşlerinin Çağrışımlar, Sentez I ve Yankılar isimli yapıtları üzerinden ele alınarak, dönemin modernist teknikleri bağlamında incelenmesi ve bu çerçevede bestecinin ulusalcılık anlayışına dair bulguların yapıtlarına yansımalarının ortaya çıkarılması amaçlanmaktadır.
Yapıtlarında 20. yüzyıl müziğine dair estetik ya da yapısal neredeyse tüm parametreleri kullanan besteciyi diğerlerinden ayıran en önemli özellik ise tüm bu çağdaşlık panoraması içinde Türk kültürüne dair verileri soyut bir biçimde kullanmış olmasıdır.
Çalışmada, Cengiz Tanç’ın yaşamı, düşünce dünyası ve ulusalcılık görüşleri hakkında bilgi verilmesinin yanı sıra, ulusalcılık ve ulusal müziğin gelişimi; Türk halk müziği çalışmaları; modernizm ve müzik yapıtlarına etkileri üzerinde durulmuş, böylece dönemin müzik tipolojisi hakkında bilgi verilerek bestecinin üslubunu etkilediği düşünülen konular kavramsal bir çerçeve içinde ele alınmaya çalışılmıştır. Çalışmanın ilerleyen bölümlerinde ise söz konusu kavramsal çerçevenin Tanç’ın yapıtlarındaki yansımaları ayrıntılı olarak incelenmiştir.
Araştırmaya konu olan verilerin elde edilmesi için geniş çaplı bir literatür taraması yapılmıştır. Çalışmayla ilgili elde edilen nitel veriler, alt problemler çerçevesinde doküman ve içerik analizi teknikleriyle çözümlenmiş ve yorumlanmıştır.
Yapılan eser analizi neticesinde bestecinin yapıtlarında sınırlı rastlamsal alanlar, belirsizliğe doğru evrilen çok katmanlı yapılar, modal ve makamsal ses çekirdekleri, serializmin kısmi uygulamaları, kromatizm, belli bir bağlamda “dörtlü armoni” olarak adlandırılabilecek bir armoni anlayışı, mikropolifoni, salkım ses ve ses blokları ve çeyrek ses uygulamaları gibi dönemin modernist tekniklerinin kullanıldığı gözlemlenmiştir. Bestecinin yapıt tasarımında kullandığı temel yapıların ise Türk halk müziğinin bazı biçimsel özelliklerini yansıttığı gözlemlenmiştir. Türk halk müziğinde sıklıkla kullanılan melismatik yapılar, süsleme notalar, inici motif yapısı, kararsız ses dizilimleri ve ritmik yapılanmalar, çeyrek ses kullanımları, çeşitli halk müziği çalgılarının tınısal ve teknik özelliklerini sergileyen orkestra yazısı söz konusu temel yapılara örnek olarak gösterilebilir.
Sonuç olarak elde edilen bulgular neticesinde Cengiz Tanç’ın, bu çalışma içinde yer alan yapıtlarının, bestecinin ulusalcılık ve ulusal müzik üzerine olan görüşleri ile uyumlu olduğu tespit edilmiştir. Çalışma bütünüyle ele alındığında Cengiz Tanç’ın gerek görüşleriyle gerekse yapıtlarıyla, ulusalcı duyguları yansıtabilen çağdaş bir besteci olduğu sonucuna varılmıştır.
________________________________________________________
Halid Recep ARMAN, who was born in 1902 in Istanbul, began music education in Istanbul City Band in 1914. He had started teaching solfege, reading musical notes and music theory and had worked as orchestra chief for two years at the rank of “Warrant Candidate” in the naval band which moved in 1924 from “Kasımpaşa Barracks” to the primary training barracks (Sübyan Kışlası) in “Camialtı” neighborhood. ARMAN, who carried out duties of chief, flute performer and teacher in the navy, army and air forces of our country, has been sent to Afghanistan on duty and he had established there the Afghan Music Corps. Halid Recep ARMAN had been assigned as the head-teacher of the Band School of Navy on April 24, 1957 and he added too many artworks to the repertoire of “Harmonie Orchestras” by the important works in the field of music teaching, composing, being orchestra chief and music author. He played an important role in introducing the culture of our country by performing Turkish folk music compilations abroad through Harmonie Orchestras and he introduced the Polyphonic Turkish Music to the nation by performing compositions and arrangements in many different places of the country. He had served as a model along his carrier for his fellows by his work discipline, devotedness and diligence. He also contributed to the development of the polyphonic music of our country by the books and methods he authored in addition to the marches, overtures, fantastic artworks, waltz, tango and orchestral arrangements.
1831 yılında batı müziği eğitimi veren bir diğer askerî müzik okulu ise bahriye bünyesinde kurulan Mahmudiye Mızıkasıdır. Bahriye mızıka okulları kuruluşundan günümüze değin gerek eğitim kadrosu gerekse eğitim sistemiyle, Mızıka-i Humayun ile birlikte çoksesli Türk müziğinin kurumsallaşma sürecine katkı sağlamış önemli eğitim kurumlarımızın başında gelmektedir.
Zaman içerisinde dönüşüme uğrayan askerî bando okulları, Cumhuriyet döneminde kurulan Musiki Muallim Mektebi, Ankara Devlet Konservatuarı, Gazi Üniversitesi Eğitim Fakültesi’nin Müzik Eğitimi Bölümü gibi günümüz çoksesli Türk müziği eğitim kurumlarının temellerini oluşturmuşlardır. Günümüzde askerî bando eğitimi halen Milli Savunma Üniversitesi (MSÜ) Bando Astsubay Meslek Yüksek Okulu (MYO) bünyesinde devam etmektedir.
Bu çalışmada Osmanlı döneminden günümüze Türk askerî bando okullarının gelişim süreci ele alınarak araştırmacılar ve tarih severler için bilgilendirici bir kaynak sunulmaya çalışılmıştır.