roMani MusiC of turKeY - Carnegie Hall

The Weill Music Institute 

at Carnegie Hall 

roMani MusiC 

of turKeY 









Carnegie Hall presents 

Citi global enCounters 

a Program of the Weill Music institute at Carnegie Hall 

TEACHER GUIDE

ACknoWledgMenTs 

Contributing Writer / editor 

Daniel Levy 

Consulting Writer 

Sonia Seeman 

Lead sponsor of Citi Global Encounters 





The Weill Music Institute at Carnegie Hall 

881 Seventh Avenue 

New York, NY 10019 

212-903-9670 

212-903-0925 at Carnegie Hall 

weillmusicinstitute.org 


© 2009 The Carnegie Hall Corporation. All rights reserved. 


at Carnegie Hall

Table of ConTenTs 

THE BIG QUESTION ................................................................................................ 4 

PROGRAM TIMELINE ............................................................................................. 5 

GUIDE TO CITI GLOBAL ENCOUNTERS TURKEY CD ...................................... 6 

A NOTE ON TERMS ................................................................................................. 7 

LISTENING TO MUSIC IN YOUR CLASSROOM ................................................ 8 

LESSON AND ACTIVITY PLANS ........................................................................ 9 

ACTIVITY 1: Freedom and Structure in the World ................................. 10 

ACTIVITY 2: Freedom and Structure in Music ........................................ 15 

ACTIVITY 3: The Turkish Romani Experience ........................................ 19 

PERFORMANCE ARTIST VISIT .............................................................. 24 

ACTIVITY 4: Freedom and Structure Project ......................................... 25 

Project Example: Global Studies .................................................... 26 

Project Example: English ................................................................. 28 

Project Example: Music ................................................................... 32 

Additional Project Resources .......................................................... 43 

OPTIONAL TEACHING ARTIST VISITS .............................................................. 44 

Teaching Artist Visit 1 ................................................................................. 45 

Teaching Artist Visit 2 ................................................................................. 48 

FINAL CONCERT: WHAT TO EXPECT ............................................................... 51 

SUPPORTING MATERIALS .................................................................................. 52 

Meet the Artist Handout ............................................................................ 53 

Introduction to Turkey ................................................................................. 55 

Map of Turkey .............................................................................................. 56 

Instrument Guide ......................................................................................... 57 

CITI GLOBAL ENCOUNTERS TURKEY CD TRACK LISTING ......................... 62 

3

THe bIG QUesTIon 

Welcome to Carnegie Hall’s 2008–2009 Citi Global Encounters curriculum, Romani Music of Turkey. We are 

very excited that you and your students are joining us as we explore Romani music—one type of Turkish 

music—with our featured artist, Romani clarinetist Selim Sesler. 

Our curriculum this year is built around a single guiding question: 

What is the relationship between freedom and structure in Selim Sesler’s Turkish Romani music 

and my own life? 

We will repeatedly return to this question throughout this year, including during your Turkish performance 

artists classroom visits, and also at the final concert. We believe this guided inquiry will sustain an interesting 

and thorough dialogue between students and teachers. As you and your students explore this question 

in your classroom, please keep these overarching goals in mind: 

• to engage students in active musical exploration of global cultures, history, and musical practices 

• to inspire students to reflect on their own cultures and look for ways to connect to new and different 

musical traditions 

• to provide an opportunity for students to explore their potential as participants in a global musical 

tradition that is not their own 

We are inspired by the possibilities that the 2008–2009 Citi Global Encounters program presents for everyone 

involved and look forward to working with you and your students. 







Selim Selim Sesler 

Sesler 

4 


at Carnegie Hall Citi Global Encounters

PRoGRaM TIMelIne 

We hope that you will use this timeline as a calendar for your school year planning. The timeline 

provides a framework for activities to be completed before the final concert. For your convenience, 

we have included the dates for the selected activities and final concert. 

DATE ACTiviTY 

March 5, 2009 

March 7, 2009 

May 14, 2009 

Istanbul at night 

PROFESSiONAL DEvELOPMENT 

Teachers receive an overview of the program and meet some of the artists 

who will perform during the final concert. 

ACTiviTY 1: FREEDOM AND STRUCTURE iN THE WORLD 

ACTiviTY 2: FREEDOM AND STRUCTURE iN MUSiC 

OPTiONAL TEACHiNG ARTiST viSiT 1 

ACTiviTY 3: THE TURKiSH ROMANi EXPERiENCE 

PERFORMANCE ARTiST viSiT 

Turkish musicians visit classrooms to perform and talk about their craft. 

ACTiviTY 4: FREEDOM AND STRUCTURE PROJECT 

OPTiONAL TEACHiNG ARTiST viSiT 2 

The final concert at Zankel Hall features Selim Sesler and the New York 

Gypsy All-Stars. At this concert, students will be invited to participate in 

the following ways: 

• sharing their impressions on the place of freedom and structure in 

Selim Sesler’s music (from Activities 1 and 2) 

• sharing their Freedom and Structure Projects (Activity 4) 

• improvising along with “Black Grape Seed” from Teaching Artist visit 1 

ROMANI MUSIC OF TURKEY 5

GUIDe To CITI Global enCoUnTeRs TURKeY CD 

SOLO INSTRUMENTS 

1. Clarinet example 

2. Kanun example 

3. Darbuka example 

4. Bass guitar example 

SELIM SESLER SONGS 

5. “Kasap Havasi” 

6. “Kara Üzüm Habbesi” (“Black Grape Seed”) 

7. “S¸ u Köyceğiz Yollari” 

8. “Melodic Sesler” 

9. “Crying for Soda, Fainting for Lemons” and “Kirmiziyi Severler” (medley) 

FREEDOM AND STRUCTURE LISTENING MAP 

10. “Kasap Havasi” (bass) 

11. “Kasap Havasi” (drums) 

12. “Kasap Havasi”: Main Melody A (clarinet) 

13. “Kasap Havasi”: Main Melody B (clarinet) 

MUSIC IN TURKEY TODAY 

This section begins with the Muslim call to prayer, the Adhan. Listen for echoes of this new tone and 

these kinds of melodic ornaments in Romani music and in all Turkish music, old and new. The three 

Turkish pop songs that follow (Tracks 15–17) demonstrate a connection to traditional instruments and 

sounds, as well as a clear Western influence. 

14. “Adhan–Shaam” 

15. “Ah Annem–Orientation” 

16. “Biz Bizi–Aziza A” 

17. “Prophecy–Harem Club” 

PROJECT EXAMPLE: MUSIC 

18. “S¸ inanari #1” (straight, slow) 

19. “S¸ inanari #2” (straight, slowest) 

20. “S¸ 

The 

inanari 

Weill 

#3” 

Music 

(free) 

Institute 


TEACHING ARTIST VISIT 1 

21. “Kasap Havasi” (bass and drums looped from recording) 

22. “Kara Üzüm Habbesi” (“Black Grape Seed”) (hand-drum rhythm looped from midi) 

23. “S¸ u Köyceğiz Yollari” (darbuka break looped with drone from recording) 

24. “Melodic The Weill Sesler” Music (darbuka Institutebreak 

looped from recording) 



25. “Mastika #1” (solo, free) 

26. “Mastika #2” (drum) 

27. “Mastika The Weill #3” Music (drum Institute and voice one) 

28. “Mastika at Carnegie #4” (drum Hall and voice two) 

6 



a noTe on TeRMs 

Please review the following terms with students before you begin the activities in this book. it may be 

helpful to write these terms and their definitions on the blackboard or on a large piece of paper, so that 

students can always reference these definitions during the class activities. 

Term Part of speech Definition 

Rom noun, singular A Gypsy (usually referring to a man) 

Roma noun, plural A group of Gypsies 

Romani adjective Of or relating to Gypsies 

Selim Sesler performing in an Istanbul club 


lIsTenInG To MUsIC In YoUR ClassRooM 

You do not have to be a music expert to lead a musical discussion! Here are some suggestions for talking 

about music in your classroom and tips for conducting your own active listening—and your students’, too. 

For your own preparation, listen to the Citi Global Encounters Turkey CD. Listen actively by posing the questions 

below to yourself before you listen to each track, and keep these questions in mind while you listen. Use this 

same method of active listening in your classroom. Rather than acting as a music expert, you can engage your 

students’ listening skills and help them build their observations and opinions over time. 

Because most of us are passive (rather than active) music listeners, we do not generally listen to music 

as closely as the activities in this program ask us to listen. Students may resist active listening, but will 

overcome this resistance as they discover the benefits of listening to music in this deeper way. 

oPen QUesTIons 

Ask yourself, and then students: 

• “What do you notice in this music?” 

• “What stands out to you as you listen to this music?” 

• “What happens first?” 

• “What happens after that?” 

• “What qualities do we notice in this music?” (For example: fast or slow, light or dark, thick or thin, 

smooth or bumpy, plain or fancy) 

• “What sounds are creating those qualities?” 

• “What kinds of instruments might be making those sounds?” 

• “Does this remind you of any music you know? Why?” 

• “Can you make any connections between this music and any other music we’ve listened to?” 

• “What questions do you have about this music?” 

• “What do you imagine the creators of this music were trying to communicate to you?” 

• “What would you change in this music to make it more effective?” (For example: instruments, melody, 

speed, intensity, or lyrics) 

lIsTenInG 

Try these techniques for engaging students in active listening: 

• Play only a short (10–20 seconds) section several times before asking any questions about it; 

repeat these mini-excerpts to refocus a question, or to verify what students say they hear. 

• Model your own observations, self-questioning, and thinking out loud for students. Students will 

The 

listen 

Weill 

more 

Music 

energetically 

Institute 

if you are a co-learner instead of an expert. 

• at Encourage Carnegie students Hall to identify specific sounds in the music and support their observations 

with concrete examples. Many students will want to say things like, “it makes me think of …” 

or “it reminds me of …” These statements may establish a personal connection to the music, 

but will not help them notice much about the music itself. Follow up those kinds of observations 

with questions like, “What is it in the music that makes you say that?” Replay the track if students 

The want Weill to point Music out Institute a specific sound in the music. 

• at When Carnegie talking Hall about qualities in the music (for example: fast or slow, light or dark, thick or thin, 

smooth or bumpy, plain or fancy), ask students to rate any quality they notice on a scale of 

1 to 10 (1 being a quality of low value to the music overall, and 10 being a quality of high value). 

• Praise active listening. People are often afraid of “getting it wrong” when talking about music. 

However, active listening urges students to pay closer, more sustained attention to music. By 

The pointing Weill out Music to students Institute when they are actively listening, you will encourage them to actively 

at listen Carnegie more often, Hall and worry less about being experts. 

• if specific musical terms come up in a discussion, ask speakers to rephrase their comments using 

more common terms. if you or one of your students becomes the music expert of the group, it may 

be hard to engage the class in discussion. 

8 



Citi Global Encounters

lesson 

anD 

aCtiVitY Plans 

ROMANI MUSIC OF TURKEY

aCTIVITY 1: fReeDoM anD sTRUCTURe In THe WoRlD 

aIM: How are freedom and structure a part of my life? 

sUMMaRY: Students explore freedom and structure in their own lives, in the world, and in music. 

MaTeRIals: Meet the Artist Handout from Supporting Materials, Citi Global Encounters CD, 

Architectural Shelters Handout, Architectural Freedoms and Structures Worksheet 

TIMe ReQUIReD: 45 minutes 

nYC anD sTaTe sTanDaRDs: NYS Social Studies: 1.2, 2.3; Blueprint: Music Literacy 

MEET THE ARTiST 

introduce your students to Selim Sesler by presenting the Meet the Artist Handout from Supporting Materials. 

Tell students: 

• “Read Selim Sesler’s biography and quotations about music out loud and summarize what the artist 

has said on a piece of paper.” 

ask students: 

“Based on what we know about Selim, what might his music sound like?” 

Play Selim Sesler’s “Melodic Sesler” (Track 8). 

ask students: 

“Now that you have heard the music, were your guesses right?” 

Use this transition to move on to a general discussion about freedom and structure. 


• “Selim Sesler is an expert at working with musical freedom and structure. To get to know his work, 

we will need to become experts on freedom and structure.” 

fReeDoM anD sTRUCTURe In THe WoRlD: aRCHITeCTURe 

To begin The creating Weill Music a classroom Institute understanding of freedom and structure, lead students through these steps. 



• “Read the Architectural Shelters Handout, which details three different types of shelters.” 

• “Think about how people living in these shelters might have used the same shelter in different ways.” 



• “Using the Architectural Freedoms and Structures Worksheet, compare the freedoms that the 

inhabitants have with the structural elements of these different shelters.” 



10 



Have students—first in pairs, and then as a whole class—discuss the following questions: 

• “What are some of the architectural structures we see in each image?” (For example: The camping tent 

uses poles, fasteners, and fabric; the igloo uses ice blocks and has an entrance tunnel; Hagia Sophia has 

towers and a dome.) 

• “What possibilities and freedoms do the structures provide for the people who use them?” (For example: 

The camping tent is portable and quick to construct; the igloo can be constructed in any icy place, is safe 

from polar bears, and is easy to warm; Hagia Sophia allows a large group to congregate in its main space.)” 

FREEDOM AND STRUCTURE iN POEMS 

With your class, brainstorm the structural elements in a poem, novel, or television show. Use “Nothing Gold 

Can Stay” (see the chart below) as an example of a poetic structure. 

POETiC STRUCTURES 

“nothing Gold Can stay” 

by Robert frost 

Nature’s first green is gold, 

Her hardest hue to hold. 

Her early leaf’s a flower; 

But only so an hour. 

Then leaf subsides to leaf. 

So Eden sank to grief, 

So dawn goes down to day. 

Nothing gold can stay. 

A square in Istanbul at night 

structural elements 

The poem consists of eight lines. 

The last word in each of the four couplets (or pairs of lines) rhymes. 

Every line (except the last) has six syllables. 

The middle two lines of each quatrain starts with a repeated word 

(“her,” “so”). The poem uses alliteration (“her hardest hue to hold,” 

“so dawn goes down to day”). 


ask students: 

“What freedoms are allowed within the structures of poems, novels, and television shows?” 

Create working definitions of the terms “freedom” and “structure.” 

WHAT iS THE RELATiONSHiP BETWEEN FREEDOM AND STRUCTURE? 

Brainstorm with your class to answer the following questions. 

ask students: 

“Where are the places in our own lives where we can observe a structure making freedom 

possible?” [For example: our bodies (bones support and frame the body—no bones, no movement); 

governmental structures; school structures; family structures; musical structures.] 

“What relationship do we see between freedom and structure in the areas we have named?” 

(For example: They support each other; they work against each other; they take turns; 

they replace each other.) 







12 



aRCHITeCTURal sHelTeRs HanDoUT 

Camping Tent 

Camping tents provide portable shelter with a simple structure made of poles (either interior or exterior), 

a durable fabric, and several varieties of fasteners including straps, clips, and fabric sleeves. Some tents are 

tall enough to stand in, while others are only tall enough for sleeping purposes. Most tents are free-standing, 

but must be secured in high winds. 

Igloo 

igloos are shelters erected from snow blocks in regions where the temperature is extremely cold. Some 

igloos are built for temporary use, while others are constructed carefully as part of intricate villages. 

To make an igloo, snow blocks are cut from an icy bank and the remaining hole is used as the lower half 

of the shelter. The blocks are stacked into a dome and a short tunnel at one end serves to reduce wind 

and heat. Due to snow’s insulating properties, igloos can be very warm. 

Hagia sophia 

Hagia Sophia is a Byzantine cathedral in istanbul. When it was originally constructed, Hagia Sophia had four 

wings of equal size that projected from a central, square, domed crossing area. The largest feature of this 

monumental structure is a central dome spanning 107 feet across. The columns that hold up the dome are 

made of marble, and the lower parts of the walls are covered with marble slabs. Elaborately carved cornices 

and capitals also decorate the cathedral. 

© 2009 The Carnegie Hall Corporation. Carnegie Hall grants teachers permission to duplicate these pages for classroom use. 


aRCHITeCTURal fReeDoMs anD sTRUCTURes WoRKsHeeT 

aRCHITeCTURe 

CAMPiNG TENT 

iGLOO 



HAGiA SOPHiA 





fReeDoMs CReaTeD 

foR InHabITanTs 


sTRUCTURes UseD 

14 



aCTIVITY 2: fReeDoM anD sTRUCTURe In MUsIC 

aIM: How are freedom and structure vital to the music of Selim Sesler? 

sUMMaRY: Students explore freedom and structure in music through Selim Sesler’s “Kasap Havasi.” 

MaTeRIals: Citi Global Encounters CD, Freedom and Structure Listening Map for Selim Sesler’s 

“Kasap Havasi,” Guide to Citi Global Encounters Turkey CD 


nYC anD sTaTe sTanDaRDs: Blueprint: Music Literacy, Making Connections, Community and Cultural 

Resources 

FREEDOM AND STRUCTURE: AN UNPREPARED LiSTENiNG 

introduce the ideas of freedom and structure in music to your students. 


• “in music, as in poetry, architecture, or dance, anything that repeats more than once can be considered 

‘structural.’ Repeating rhythms, melodies, bass lines, fragments, chords—all of these elements create 

structure. Elements that are improvised, or spontaneously created, are considered ‘free.’” 

Play Selim Sesler’s “Kasap Havasi” (Track 5). 

ask students: 

“Do these musicians seem more interested in freedom or structure?” 

“What specifically about the music makes you say that?” 

Record students’ responses in text form or as an audio file for presentation at the final concert. You’ll ask these 

same questions again at the end of the lesson. 

Note: Please share exemplary work with the Carnegie Hall staff so we can include this work in the concert event. 

HEARiNG MUSiCAL STRUCTURES ON THEiR OWN 

Listen to structural elements excerpts from “Kasap Havasi” (Tracks 10–13). These excerpts, taken from the larger 

piece, are isolated so you and your students can hear the structured elements more precisely. (See the 

Guide to Citi Global Encounters Turkey CD on p. 6 for a list of these excerpts.) 

ask students: 

“Do these elements sound new, or did you hear them before when we listened to the 

full version of the song?” 

“is it clear why musicians consider these sounds structural elements?” 

Use this transition to segue to the next section of this lesson. 


• “Now that we have a sense of what these structures sound like on their own, we will listen for 

freedom and structure in the context of the full recording.” 


READiNG THE LiSTENiNG MAP 

Give students copies of the Freedom and Structure Listening Map for Selim Sesler’s “Kasap Havasi” (p. 18). 

ask students: 

“How is the Listening Map organized?” 

Note: Students will fill in the empty sections on the map later in this lesson. 

Play the complete version of “Kasap Havasi” (Track 5) again and have students follow along as you read the Listening 

Map out loud. (Be sure to watch the time on the CD so that you can read each section of the Listening Map at 

the appropriate time. if it seems useful, have a student call out the time at the sectional changes indicated on the 

Listening Map.) 

ask students: 

“Were you able to hear the freedoms and structures that the Listening Map indicated?” 

“Was the Listening Map accurate, or would you change it in some way?” 

COMPLETiNG THE LiSTENiNG MAP 

Play the structural elements excerpts for “Kasap Havasi” (Tracks 10–13) again; then play the full version of 

“Kasap Havasi” (Track 5) again. 

Show students, by example, how to fill in the “SOUNDS LiKE” sections on the Listening Map. Then have students, 

in pairs, complete this section themselves. Students can add words, musical notation, or drawings in response to 

each particular section of the music. 

Stop, start, and repeat sections of the recording as needed. 

Have students share their work. 

ask students: 

“What did you add to the “SOUNDS LiKE” sections on the Listening Map? 



REFLECTiON 

Lead your students through the following reflection: 


• 

The 

“Now 

Weill 

that we’ve 

Music 

listened 

Institute 

more closely to our artist’s work, i’d like to ask you again:” 


ask students: 

“Do these musicians seem more interested in freedom or structure?” 

The “What Weill specifically Music Institute about the music makes you say that?” 


Record your students’ responses in written form or as an audio file for presentation at the final concert. 

16 



HOMEWORK 

Have your students respond to the following personal questions in writing: 

“What structures in your environment make your freedom possible?” 

“How do you exercise your freedom?” 

Various instruments hanging in an Istanbul shop 


fReeDoM anD sTRUCTURe lIsTenInG MaP 

selim sesler’s “Kasap Havasi” 

noTe: The shaded boxes indicate where freedom occurs in the recording. 

0:00–0:18 0:18–0:40 0:41–0:57 0:58–1:20 1:21–2:04 2:05–2:20 2:21–2:43 2:44–3:21 3:22–3:40 3:41–4:02 4:03–4:20 4:21–end 

Restatement 

of the 

Main Melody B 

Restatement 


Main Melody A 

Statement of the 

Main Melody B 

Oud Solo Statement of the 

Main Melody A 

Clarinet Solo 

(Part 3) 

Clarinet Solo 

(Part 2) 

Clarinet Solo 

(Part 1) 

Restatement 


Main Melody B 

Restatement 


Main Melody A 


Main Melody B 


Main Melody A 

Section 

Overview 

Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

Main Melody B 

(not playing) Structured 

Main Melody A 

Free 

improvisation 

over chords from 

Main Melody A 

(d minor and 

e-flat major) 

Free 

improvisation 

over a new chord 

(G minor) 

Free 

improvisation 

over the main 

chord (d minor) 

SoundS like: 

Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

Main Melody B 

SoundS like: 

Structured 

Main Melody A 

Clarinet 

Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

syncopated 

accompaniment 

Structured 

syncopated 

accompaniment 

Structured 

syncopated 

accompaniment 

Structured 

syncopated 

accompaniment 

Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

Main Melody B 

Structured 

Main Melody A 

keman 

(Violin) 

Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

Main Melody B 

Structured 

Main Melody A 

Free 

improvisation 

over main chord 

(d minor) 

SoundS like: 

Structured 

rhythmic drone 

Structured 


Structured 


Structured 

Main Melody B 

Structured 

Main Melody A 

Structured 

Main Melody B 

Structured 

Main Melody A 

oud 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

repeated 

rhythm 

Structured 

syncopated 

accompaniment 

Structured 

syncopated 

accompaniment 

Structured 

syncopated 

accompaniment 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

kanun 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

repeated 

figure 

Structured 

repeated 

bassline 

Structured 

repeated 

bassline 

Structured 

repeated 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Structured 

bassline 

Bass 

Structured basic 

beat (with some 

improvisation) 


































SoundS like: 

darbuka 

Citi Global Encounters 

© 2009 The Carnegie Hall Corporation. Carnegie Hall grants teachers permission to duplicate these pages for classroom use.

aCTIVITY 3: THe TURKIsH RoManI eXPeRIenCe 

aIM: How do elements of freedom and structure in Selim Sesler’s music reflect the Roma’s cultural integrity 

within a majority culture, and more specifically the Romani tradition of economic survival? 

sUMMaRY: Students explore Romani history and musical practice by creating a business model like 

that of the Roma. 

MaTeRIals: Making it in Gotham Worksheet, The Turkish Romani Experience Handout 


nYC anD sTaTe sTanDaRDs: NYS Social Studies: 2.1 and 2.3 

DO NOW 

Have students argue for or against this statement: 

• “it is important for Americans to have a layered identity: You should define yourself by your nationality 

first, your religious affiliation second, and your ethnicity third.” 

Use the following statement as a transition to the next activity. 


• “Roma are a minority in Turkey. Romani people generally see themselves first as Turks, second as 

Romani, and third as Muslims. in order for us to get closer to Selim Sesler’s music, we need to 

explore these aspects of the Romani experience.” 

iMAGiNiNG THE EXPERiENCE 

Have students, in small groups, fill out the Making it in Gotham Worksheet (pp. 21–22). in this worksheet, 

students imagine they are in the fictional city of Gotham and create a fictional business in an area where 

multiple ethnic communities cohabitate. 

Once students have completed their worksheets, lead them in a discussion about their responses. 

ask students: 

“How did you decide what kind of business to set up?” 

“What surprised you about your responses to the questions?” 

THE TURKiSH ROMANi EXPERiENCE 

Give students (who are still in small groups) The Turkish Romani Experience Handout (p. 23). This handout 

will give students a more detailed background on general Romani history, Romani musical traditions, and the 

life of Selim Sesler. 


• “Read one of the sections from The Turkish Romani Experience Handout. Be prepared to share 

what parts of your section relate to your Making it in Gotham Worksheet.” 


Have students share with the class. 

ask students: 

“How would you describe the similarities between your imagined immigrant experience and 

the experience of the Turkish Roma?” 

“How would you describe the differences?” 

“How do you think the Turkish Roma’s experiences influence Romani music?” 





The The Weill Sesler Music and Institute Gumus family at the annual picnic (daglik) in Kesan, 1999 

at Right Carnegie Right to left: HallTom 

Tom Padden; Selahattin Kocan; Sezer Gumus; Turan Gumus; 

Selim Sesler; Ayse; Nuran Sesler 

20 



MaKInG IT In GoTHaM WoRKsHeeT 

imagine that you are a new immigrant to the imaginary city of Gotham, and you need a job. Gotham is city of 

many indigenous and immigrant cultures. 

You and your family have to survive, so you start an independent business producing something everyone 

needs. Choose one business that you will start: 

a grocery store 

a clothing store 

a repair service 

a trading post (Set up a family network to bring any needed goods into a neighborhood: 

small plastic toys, pots and pans, or bedding. This business is completely dependent on 

staying in tune with local needs.) 

a wedding band (or other musical group) 

Your business location is in The Nexus, an area where all the ethnic neighborhoods of Gotham converge. 

Answer the following questions about your business. 

1. What will your business provide for customers? 

2. How will you make sure that as many customers as possible do business with you? 

3. What might cause your business to fail? How can you avoid this? 



4. Name an aspect of your culture that people generally admire or even emulate (for example: manners, music, 

dance, poetry, cuisine, architecture, and belief systems). How can you draw on these admired aspects of 

your culture to strengthen your business? 

5. Once your business is secure and thriving, how will you feel about your satisfied customers? How will 

they feel about you? 

6. How will you honor your own ethnic traditions while confronting people of different ethnicities? Will you 

continue to speak in your language and practice your cultural traditions (such as weddings and holidays), 

or will you try to emulate your neighbors’ culture? Will your children learn your business when they grow, 

or will they go to college and pursue other interests? 



7. if people make fun of or insult you because of your ethnicity, will you maintain your polite manners and 

continue your ethnic traditions, or hide them? 






22 



THe TURKIsH RoManI eXPeRIenCe HanDoUT 

ROMANi HiSTORY 

Romani history is full of continuous struggle and persecution. Since they began moving to Europe in the 11th 

century, the Roma have been persecuted and treated with disrespect: European governments have often 

questioned their citizenship, restricted their travel, and suspended their due process (the principle that every 

person is entitled to the laws of a particular area). Romani people have rarely been included in any decisions 

regarding policies that shape their own futures. 

European governments have attempted to forcibly settle and resettle the Roma, often with little success and 

negative results. in some cases, these governments create encampments where they forcibly place Romani 

immigrants. The Roma continue to live on the margins of society, and are prevented from gaining official 

recognition as a minority entitled to basic rights. Because the Romani people lack a single, united voice, 

governments have easily ignored their rights. Romani communities are scattered throughout Europe and 

have been isolated by continued persecution. in recent years, the World Romani Congresses (a series of 

forums for discussion of issues relating to Romani people that began in the 1970s) and the First Gypsy 

Congress of the European Union have begun helping the Roma speak with one voice. 

Carnegie Hall has referenced The Patrin Web Journal (geocities.com/~Patrin) for this description. 

ROMANi MUSiCAL FAMiLY TRADiTiONS 

Romani musicians are often born into—and thus trained by—families of professional musicians. While young 

Romani children attend neighborhood schools, male children also have ongoing musical education at home. Some 

fathers make miniature instruments available as toys for young toddlers. When they are older, male relatives help 

with coaching, and mothers often provide guidance by singing melodies and correcting their sons’ interpretations. 

MUSiC MAKiNG 

in contemporary Turkey, Romani professional musicians perform several kinds of music in various settings, 

such as nightclubs, restaurants, and taverns, where they play light Turkish classical music (fasil ) and popular 

music requests; radio and television station broadcasts; community celebrations, such as weddings, name-day 

ceremonies, circumcisions, and soldier-send off (as military service is mandatory in Turkey); and studio recording 

sessions in big cities. 

THE MUSiCAL LiFE OF SELiM SESLER 

Selim Sesler’s life story exemplifies the typical musical life of a Romani musician, because he began as a regional 

musician from a small town and then trained to perform in many different kinds of settings thoughout istanbul, 

eventually touring abroad. Selim was born in 1957 in the Turkish Thracian town of Kesan. The men in his family 

are professional musicians: his father played zurna (double-reed folk instrument) and then learned clarinet when 

he served in the army. Most of Selim’s ancestors and other relatives were also zurna players. Selim and his older 

brother learned clarinet by sneaking it out while their father was out of the house. When Selim was 12, his father 

took him to play at his first wedding. From that point on, Selim began to play in the surrounding villages for Romani 

and non-Romani communities. in 1982, Selim moved his own young family to istanbul to earn a better living. 

There, he played for an amateur classical music ensemble, a local theater, and nightclubs. Selim also recorded 

his first Romani dance music LP. 

The above descriptions have been provided by Sonia Seeman. 

—Sonia Seeman is Assistant Professor of Ethnomusicology at the University of Texas at Austin. Her articles have appeared in the Middle East Studies Association 

Bulletin, Ethnomusicology Forum, and Music and Anthropology. Seeman also co-produced the ethnographic recording Roads to Kesan with Selim Sesler. 



PeRfoRManCe aRTIsT VIsIT: fReeDoM anD 

sTRUCTURe In TRaDITIonal RoManI MUsIC 

aIM: What are the traditional Romani musical structures for rhythm, melody, and improvisation? 

sUMMaRY: Students perform and manipulate the building blocks of Romani music. 

An expert practitioner of traditional Romani music will lead your students in a workshop in which the students will: 

• speak, clap, graphically notate, and perform some of the songs that will be performed at the concert, 

as well as other traditional rhythmic and melodic structures that Selim Sesler uses in his music 

• actively shape improvisations performed by the musicians as a way of exploring freedoms within 

traditional rhythmic and melodic structures (for example: students combine elements from their own 

musical culture with traditional Romani structures) 

• verbally respond to a live performance by the musicians, including noticing their personal use of freedom 

and structure 






Vegetable at Carnegie stand Hall in Istanbul 

24 



aCTIVITY 4: fReeDoM anD sTRUCTURe PRoJeCT 

aIM: What are our ideas regarding freedom and structure in global studies, English, and music? 

sUMMaRY: Students work individually, in small groups, or with the entire class to create a research project. 

MaTeRIals: Citi Global Encounters CD, Project Support Materials 

TIMe ReQUIReD: At least two class periods (possibly more depending upon the depth of your 

class’s project) 

nYC anD sTaTe sTanDaRDs: NYS Social Studies: 2.3; Blueprint: Making Connections 

We encourage teachers and students to create Freedom and Structure Projects using the knowledge 

and experience that they have gained from studying Selim Sesler and Romani music. Teachers will 

decide whether students will work on these projects individually, in small groups, or together as a class. 

Regardless of the size of the group(s) within the class, teachers will choose only one subject area— 

either global studies, English, or music, as outlined in the Project Example materials on the following 

pages—to be the content of all projects. 

We recognize that every classroom teacher has certain areas of expertise. We invite classroom teachers 

to choose subject areas with which they are comfortable for these two (or more) Freedom and Structure 

Project lessons. Please use the Project Example materials on the following pages as a guide for your 

classroom work, but also feel free to let the projects take form naturally. 

PRoJeCT PaRaMeTeRs foR fReeDoM anD sTRUCTURe PRoJeCTs 

• can be created by individual students, small groups, or the entire class 

• should include some of the ideas about freedom and structure that are at the center of our guiding 

question (p. 4) 

• should include a connection with Romani music or culture 

• should include creating an artifact or documentation that can be shared both in class and at the 

final concert 

• should involve a minimum of two class periods of work 

• can be drawn from the examples provided, or can be freely invented 

• can involve collaboration with arts specialists in your school 

The materials on the following pages present some project possibilities for the following subject areas: 

• global studies (pp. 26–27) 

• English (pp. 28–31) 

• music (pp. 32–35 ) 

aDDITIonal PRoJeCT ResoURCes 

We have also included a list of additional web resources that might be helpful as you plan and create your 

projects (p. 43). These resources might provide inspiration for additional starting points for brainstorming. 


PRoJeCT eXaMPle: Global sTUDIes 

aIM: How can Turkey’s social structure affect the freedoms of the Romani people? 

sUMMaRY: Students use the iconography of the Romani and Turkish flags and make personal connections 

with the social freedoms and structures the flags represent. 

sUMMaRY: Students plan and create research projects. 


PART 1: A NEW AMERiCAN FLAG 


• “The new President and Congress of the United States have agreed that the United States needs a new 

flag. You have been commissioned to create it. Draw a combination of shapes, colors, objects, and 

animals that will represent the United States. Remember to honor all cultures and religions of the 

United States in your drawing, and be sensitive that you do not offend any of these cultures or religions.” 

Have students compare their flags. 

ask students: 

“What are the meanings behind the colors and symbols on your flags?” 

Have students argue for or against this statement: 

• “The United States is too culturally complex to design a flag that will honor all of its cultures 

and religions, and will not offend anyone.” 

PART 2: EXPLORiNG THE ROMANi AND TURKiSH FLAG 

Have students use the support materials on p. 27 to decode the Romani and Turkish flags, and to make a 

connection between the flags’ symbolism and the freedoms and structures of Turkish culture. Have students 

then connect their own lives with what they have learned about social freedoms and structures in Turkish and 

Romani cultures. 







26 



sUPPoRT MaTeRIals foR Global sTUDIes 

PRoJeCT eXaMPle 

ABOUT THE ROMANi FLAG 

The Romani flag is the international flag of the Romani people. it was created by the General Union of the 

Roma in 1933, and approved by international representatives at the first World Romani Congress in London 

in 1971. The background of the flag is blue and green, and represents the heavens and earth, respectively; 

the blue parts of the flag also symbolize eternal spiritual values, and the green parts symbolize earthly values. 

The Romani flag also contains a red chakra (“spoked wheel”), in the center; the chakra represents the 

migratory heritage of the Roma and links them to their indian origins (the 24-spoked Ashok Chakra is in 

the center of india’s national flag). 

ABOUT THE TURKiSH FLAG 

The flag of Turkey contains a white crescent moon and a star on a red background. in Turkish, the flag is 

called Ay Yildiz (“moon star”) or Alsancak (“red banner”). Though the crescent and the star are generally 

regarded as islamic symbols today, these symbols were used throughout Asia minor (an area of the 

Middle East comprising most of Turkey) long before the advent of islam. Countless theories exist about 

the meaning of the crescent and the star: According to one theory, the crescent has its roots as livestock 

branding or stamping, used by nomadic Turkish clans of central Asia; another legend says that Osman i, 

the founder of the Ottoman Empire (an area that once spanned southeastern Europe, Africa, and the 

Middle East), had a dream in which the crescent moon stretched from one end of the earth to the other. 

According to Turkish legend, red represents dominance by consent, and white represents power, justice, 

exaltation, and purity. 


PRoJeCT eXaMPle: enGlIsH 

aIM: What qualities of the Romani experience are reflected in the lyrics for the songs “Crying for Soda, 

Fainting for Lemons” and “Kirmiziyi Severler”? 

sUMMaRY: Students plan and create research projects. 


PART 1: A NEW NATiONAL ANTHEM 


• “The US President and Congress have agreed that America needs new lyrics for the national anthem, 

‘The Star-Spangled Banner.’ You have been commissioned to write these lyrics.” 

• “Using the existing lyrics (p. 30) and melody as a template, write new lyrics to represent your personal 

point of view about the United States. Decide if your lyrics will be celebratory, critical, or a combination 

of the two viewpoints.” 

Have students sing and compare their lyrics. 

ask students: 

“Which specific lyrics—celebratory, critical, or both—do you think truly reflect your feelings about 

the United States?” 

“Do any of the lyrics have more than one potential meaning?” 

PART 2: EXPLORiNG ROMANi SONG LYRiCS 

Play Selim Sesler’s recording of the medley including “Crying for Soda, Fainting for Lemons” and “Kirmiziyi 

Severler” (Track 9), and have students look at the printed lyrics (p. 30). Both songs are popular in Turkey, 

and “Kirmiziyi Severler” is considered the unofficial Romani national anthem. 

Have students use the support materials on p. 30—which contains lyrics to both songs—to decode the 

meaning in the two songs. 

ask The students Weill the Music following Institute questions about “Crying for Soda, Fainting for Lemons”: 


“Who is singing these lyrics? Why would no one go near a ‘lemon squeezer’?” 

“is this song serious, ironic, or comical? How does the singer feel about the wedding guests 

who are ‘crying out for soda, fainting for lemons’?” 



ask students the following questions about “Kirmiziyi Severler”: 

“What do the lyrics tell you about the Romani people?” 



28 



ask students the following questions about both songs: 

“Why would these lyrics be chosen for a national anthem? What connection can you make 

between the lyrics and what you have learned about social freedoms and structures in Turkish 

and Romani cultures?” 

“What are some of the popular songs you know that observe or comment on social freedoms 

and structures in your own culture?” 

Cappadocia in eastern Turkey 


sUPPoRT MaTeRIals foR enGlIsH PRoJeCT eXaMPle 

“The star-spangled banner” 

lyrics by francis scott Key 

Oh, say can you see by the dawn’s early light 

What so proudly we hailed at the twilight’s last gleaming? 

Whose broad stripes and bright stars through the perilous fight, 

O’er the ramparts we watched were so gallantly streaming? 

And the rocket’s red glare, the bombs bursting in air, 

Gave proof through the night that our flag was still there. 

Oh, say does that star-spangled banner yet wave 

O’er the land of the free and the home of the brave? 

The original tune used for “The Star-Spangled Banner” was borrowed from an English drinking song written 

around 1780. By 1798, this melody had been used to create many new songs, including songs that praised 

former US presidents John Adams and Thomas Jefferson. Francis Scott Key would have been quite familiar 

with this melody when he published his lyrics to the “The Star-Spangled Banner” in 1814 and used this melody. 

Not until 1916 was “The Star-Spangled Banner” designated the US national anthem by Woodrow Wilson. 

“Crying for soda, fainting for lemons” and “Kirmiziyi severler” 

lyrics and Music by Kadir Üründülcü 

(instrumental Main Melody) 

i came to dance, to dance, 

To throw the belly at weddings. 

They call me “lemon squeezer” 

And no one comes near me. 

Refrain: 

They are crying out for soda, fainting for lemons. 

(Clarinet Solo, and instrumental Main Melody) 

Headscarf The Weill around Music my waist, Institute i swear 

i had at everyone Carnegie look Hall at me. 

Headscarf around my waist, i swear 

i had everyone look at me. 

They call me “lemon squeezer” 

And no one comes near me. 



Refrain: 

They’re crying out for soda, fainting for lemons. 

(musicians transition into “Kirmiziyi Severler”) 



30 



Those that love red are proud of each other 

Romani [people] are this way 

Their hearts can’t live without playing. 

Let the person be Romani 

Even if he’s made from mud 

God also created him 

Whomsoever he be, let him be [Romani]. 

(violin Solo) 

a noTe on THe lYRICs: 

• “Throw the belly” refers to bellydancing as wedding entertainment. Romani musicians are often 

experts at accompanying professional dancers. Bellydancing is popular throughout Turkey and 

the Middle East. 

• Soda water with fresh-squeezed lemon is a popular drink in Turkey; the host or caterer is responsible 

for providing refreshments for the wedding party. 

• in Turkey, a headscarf worn on a woman’s head is a public expression of commitment to islam. Wearing 

a headscarf around one’s waist might be considered inappropriate, provocative, or ambiguous. 

• Romani people believe that those who wear red are protected from harm, for red connotes love and 

fertility. For these reasons, brides throughout the Mediterranean (an area which includes Turkey, Greece, 

Spain, and Croatia) wear red veils on their wedding days. 

Selim Selim Sesler Sesler playing playing for musicians musicians of Trakya’nin Trakya’nin Sesl Sesl 

at a restaurant, restaurant, Istanbul, Istanbul, 1999 1999 

Right Right to left: left: Ramazan Ramazan Borozan; Borozan; Nusret Nusret Sute; Sute; Turan Turan Gumus. Gumus. 

Seated: Seated: Selim Selim Sesler Sesler with with clarinet. 

clarinet. 



PRoJeCT eXaMPle: MUsIC 

Your students can choose from three different options for this project, depending on their areas of expertise. 

oPTIon 1: PlaYInG RoManI MeloDIes 

aIM: How does performance of Romani melodies affect our understanding of Romani culture? 

sUMMaRY: Students rehearse and perform a traditional Romani melody. 

TIMe ReQUIReD: 60–90 minutes 

Have students play or sing “Kasap Havasi” (Tracks 12 and 13). 

Note: We have included sheet music (in several different keys) on pp. 39–42. Experiment with these different 

keys until you settle on a key that all of your students are comfortable with. 

oPTIon 2: fReeDoM anD sTRUCTURe: IMPRoVIsaTIon 

aIM: How does our featured artist make the most of freedom and structure in musical improvisations? 

sUMMaRY: Students connect their own lives to musical improvisation. 


Lead your students in the Teaching Artist visit 1 lesson. 

oPTIon 3: “s¸ InanaRI”—MeloDY anD oRnaMenT MUsIC lessons 

aIM: How does Selim Sesler create Romani-style melodic ornamentation? 

sUMMaRY: Students establish the idea of ornament using their prior knowledge, establish a physical 

familiarity with the melody of the Turkish song “S¸ inanari,” and discover the musical ornaments that typify 

Romani clarinet playing. 


PaRT 1: enTRY PoInT—PeRsonal oRnaMenTs 

Define personal ornaments (for example: objects that beautify the body, or function as amulets or “love letters” in 

courtship; expressions of individual and group identity; markers of age, class, gender, wealth, or social status). 

Have students, in pairs, create outlined line drawings of the human figure. 


Have at students Carnegie add Hall their own drawn personal ornaments with colored markers. Post the students’ work on the wall. 

ask students: 

“How do you know what kinds of personal ornaments to add?” 

The “What Weill is Music too much?” Institute 


“What is not enough?” 

“What style or kind of ornament do you prefer or dislike?” 

“Where do you think that preference originated?” 


at Carnegie “What effect Hall does someone’s personal ornaments have on your perception of that person?” 

32 



Have students take a look at the ornamented figures on the wall. 

ask students: 

“What are the effects of ornamenting a human being?” 

“When does an ornament obscure the person underneath the ornament?” 

“When does a personal ornament make the wearer more vibrant or interesting?” 

Have students, in pairs, create new outlined line drawings of human figures. Then have them add their own 

drawn personal ornaments to bring out certain human qualities or make a specific impression. 

PaRT TWo: GeTTInG To KnoW “s¸ InanaRI”—basIC MeloDY 

HEARiNG AND DRAWiNG THE MELODY 

Play “S¸ inanari #1” or “S¸ inanari #2” (Tracks 18 and 19). 

ask students: 

“As we play the song again, try singing along with the melody. As we play it a third time, 

try singing along and draw what you hear in the air as the music plays.” 

Have students trace the ups and downs of the melody with colored markers and paper, starting and 

stopping as “S¸ inanari” plays. Repeat each track several times. The object of this exercise is not to see 

who gets it right, but rather to start listening more closely than we usually do. You may need to model this 

process for the students so they get the idea of how simple this is; use a well-known tune for modeling, 

rather than “S¸ inanari.” 

in pairs, have students compare drawings, listen again, and make adjustments and corrections for details. 

ask students: 

“What kinds of notes does this melody use?” 

“What is the shape or contour of this melody?” 

“What kinds of emotions, images, and thoughts do you have as you hear this melody?” 

“How is this melody the same as or different from melodies you listen to?” 


SiNGiNG THE MELODY 

Have students sing “S¸ inanari,” using the sheet music included at the end of this lesson as a guide (p. 36–39). 

ask students: 

“What kinds of notes does this melody use?” 

“What is the shape or contour of this melody?” 

“What kinds of emotions, images, and thoughts do you have as you hear this melody?” 

“How is this melody the same as or different from melodies you listen to?” 

PaRT THRee: GeTTInG To KnoW s¸ InanaRI—RoManI sTYle 

Lead your students through the following steps as they encounter an ornamented version of the song. 

Play “S¸ inanari #3” (Track 20), and tell students: 

• “Clarinetist ismail Lumanovski performs this song.” 

• “As i play the song again, use colored markers and paper to sketch the ups and downs, and starts 

and stops of the melody as ‘S¸ inanari #3’ plays.“ 

Note: You can also have students graphically notate any ornaments they hear on sheet music using colored 

markers. 

ask students: 

“How is this performance different from the one we just tried to draw? [For example: There are 

‘extra’ notes or ornaments, slides up and falls down, hiccups, trills (going back and forth between 

two notes very quickly for just a split second), octave displacements (suddenly jumping up or jumping 

down for one or two notes), melodic extensions (adding little runs of notes), jumpy bits, fluttery 

moments; it’s less predictable, more playful).] 

Create a list of the words students invent to describe the ornaments, and refer to it whenever possible. 



ask students: 

“On a scale of 1 to 10, straight to fancy, how fancy is it?” 


at Carnegie “What questions Hall would you ask the musician about this way of playing?” 

“What time of day would be the right time to listen to this performance of ‘S¸ inanari’?” 

“How does this specific performance change the way you experience the melody?” 



“What kinds of emotions, images, and thoughts do you have as you hear this version of the melody 

as opposed to the first two versions we heard?” 

34 



Connect this listening exercise to the entry point lessons in this sequence. 


• “The ‘extra’ notes, slides, falls, hiccups, and trills we noticed in ismail’s playing are called ornaments. 

in Turkish, süsleme refers to both personal decoration and musical ornament.” 

ask students: 

“What connections can you make between ismail’s way of playing this melody and the work 

we did with personal and architectural ornaments?” 

“How would you compare personal, architectural, and musical ornaments?” 

“Did the ornaments we observed have any of the qualities that we heard in ismail’s version 

of the song?” 

“How do we define ‘musical ornament’?” 


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J 



42 



aDDITIonal PRoJeCT ResoURCes 

sUGGesTeD onlIne soURCes foR RoManI CUlTURe 

The Patrin Web Journal: Romani Culture and History 

geocities.com/~Patrin/patrin.htm 

Romani Homepage 

romani.org 

onlIne VIDeo ResoURCes 

“Melodik Sesler” (4:15) 

youtube.com/watch?v=uzTvi-MmF7i 

“Sehnaz longa” (3:17) 

youtube.com/watch?v=QUloCsXtChU 


oPtional 

teaCHing artist 

Visits 


TeaCHInG aRTIsT VIsIT 1 

aIM: How do our artists make the most of freedom and structure in their musical improvisations? 

sUMMaRY: Students connect their own lives with the practice of musical improvisation. 

MaTeRIals: Citi Global Encounters CD 


Us sTanDaRDs: NYS Social Studies: 1.2, 2.3; Blueprint: Music Literacy, Music Making 

CREATE A MAXiM 

Lead students through the activity of creating maxims to use in this exercise around improvisation. 


• “Generate short phrases, observations, or maxims comprising up to 10 words.” (For example: 

‘Don’t cry over spilt milk.’; ‘Ain’t no stoppin’ us now.’; ‘How do you get to Carnegie Hall? 

Practice, practice, practice.’) 

• “Write your maxim on a strip of paper, fold the strip of paper, and place it in a box.” 

Model the process of improvising for students through the actions below: 

1. Choose a text from the box (have text already chosen). 

2. Play one of the four accompaniment tracks from the Citi Global Encounters Turkey CD (Tracks 21–24). 

Have an accompaniment already chosen. 

3. Say the phrase three times rhythmically along with the accompaniment. 

4. improvise with the text (repeating, fragmenting, and extending). 

5. Repeat the original phrase three times. 

example: 

PHRASE: 

You get what you get, and you don’t get upset 



iMPROviSATiON 1 (repeating): 

You get, you get, you get get get 

You don’t, you don’t, and you don’t don’t get 

What what what you don’t get, you don’t get—a what what 

iMPROviSATiON 2 (fragmenting): 

Get, g-get, g-g-g-g-g-g-g-g-g-get-et what you get 

Y-g-g-g set, y-g-g-g set 

Et et set set what you up-up-up-up-set 

iMPROviSATiON 3 (extending): 

What you get is what you get is what you want is what you need 

You need what you want, so you feed the need 

Do you get it? Do you got it? 

if you get it, will you want it? 

Who’s the giver? Who’s the getter? 

PHRASE: 


ask students: 

“What did we just do?” (For example: we repeated, fragmented, and extended.) 

“What was the relationship between the music and the text?” 

“Was that a good or not-so-good musical choice to accompany that text? Why?” 

CHOOSE A MUSiCAL ACCOMPANiMENT 

Lead students through the process of choosing a musical accompaniment. 

• Have each student draw one random text from the box. Play 30-second clips of the four 

accompaniment samples on the Citi Global Encounters Turkey CD (Tracks 21–24). 

ask students: 

“Which of these tracks will work best with the chosen text?” 

“How could you adapt your spoken performance for each musical accompaniment?” 

“Would it be easier to improvise with or without accompaniment?” 

iMPROviSE WiTH A MUSiCAL ACCOMPANiMENT 

Have five students volunteer to perform their texts along with one of the accompaniment tracks. They should 

try each of the four instrumental samples. 

1. Begin playing one of the four accompaniment tracks. 

2. Have performers say their text or phrase three times (rhythmically) along with the accompaniment. 

3. Have performers improvise with the text (repeating, fragmenting, and extending). 

4. Have performers repeat the original phrase three times. 

Note: Please share exemplary accompanied texts with the Carnegie Hall staff so we can showcase these 

student performers in the final concert. 


HEARiNG 

at Carnegie 

OUR ARTiST 

Hall 

iMPROviSE 

Preview the discussion questions below and have the whole class listen to Selim Sesler’s recording of 

“Kara Üzüm Habbesi” (“Black Grape Seed”) (Track 6). 

ask students: 



“What do we notice about this improvisation?” 

“Where was the artist’s use of repeating, creating fragments, or extending especially effective?” 

The “Why Weill might Music the Institute artist’s musical improvisation be easier or harder to create than our textual 

at Carnegie improvisations? Hall Can you be specific?” 

46 



SUMMARY AND REFLECTiON 

Lead your class in a discussion of the recordings you just listened to. Think about and discuss the following 

questions: 

ask students: 

(for all classes) 

“How does the artist’s use of freedom compare with your own?” 

“How can we share this work with other students at the concert?” 

(for music classes only) 

“What musical structures make the artist’s free improvisation possible?” 

“What does the artist do with his freedom?” 

EXTENSiON ACTiviTiES 

Brainstorm with students and come up with a list of things people can discover in their lives. Pick one item 

from the list and have students write a short poem or essay about it. Have each student find a recording 

of instrumental music (or use one of the instrumental accompaniment tracks on the Citi Global Encounters 

Turkey CD) that works well with his or her poem. Then, have students practice improvising the text with the 

music, and perform their accompanied poems for the class. 


TeaCHInG aRTIsT VIsIT 2 

Note: The teaching artist and classroom teacher should discuss these lesson options, and then together 

choose and plan one lesson before the second teaching artist visit. Option 1 allows time for the teaching 

artist to support students’ ongoing projects. Option 2 is a music lesson that delves deeper into freedom 

and structure in Selim Sesler’s clarinet playing. 

oPTIon 1: TeaCHInG aRTIsT sUPPoRTs sTUDenT PRoJeCTs 

aIM: How can our teaching artist support our Freedom and Structure Projects? 

sUMMaRY: Students make use of the teaching artist’s musical skills and insights to shape and enhance 

their work. 

MaTeRIals: See the materials provided for each Project Example in Activity 4. 


nYC anD sTaTe sTanDaRDs: NYS Social Studies: 2.3; Blueprint: Making Connections 

The teaching artist and classroom teacher create a workshop that will support students’ ongoing projects, 

according to the individual needs of each classroom. For this lesson, teachers may ask Carnegie Hall to provide 

support materials, such as sound, video recording, and editing equipment to document students’ work. 

oPTIon 2: fReeDoM anD sTRUCTURe: RHYTHM, MeloDY, anD oRnaMenTs 

aIM: What are the qualities of Selim Sesler’s Romani-style free melodic ornaments? What rhythmic 

structures are distinctly Romani? 

sUMMaRY: Students compare the Karshilama rhythms with rhythms of American dance music. Students 

apply their understanding of ornament to the Turkish melody “Mastika.” 

MaTeRIals: Citi Global Encounters CD 


nYC anD sTaTe sTanDaRDs: NYS Social Studies: 2.1, 2.3; Blueprint: Music Making, Music Literacy 

THE RHYTHM OF KARSHiLAMA 

Play the solo clarinet version of “Mastika” (Track 25). 

Tell students to imagine that they are at a party. 

ask The students: Weill Music Institute 


“At your party, what song will you play to get everyone dancing?” 

“What is the basic beat or rhythm of this song? Sing it or tap it on a table.” 


at Carnegie 

“is there a 

Hall 

particular dance style that goes best with this song?” 

“How fast should a song be for dancing?” 

“What is too fast for dancing? What is too slow for dancing?” 



48 




• “Most music in the United States has rhythms that are organized in groups of fours; you can 

hear groups of four beats when you listen to this music. We are so used to hearing these groups 

that it is easy to tap our feet to the pulse of the music.” 

ask students: 

“Do you know any music in which the rhythms are not organized in fours?” 

Have students describe this music. 

Play “Mastika #2” (Track 26) recorded with a drum playing the pulse. Have your students try to clap along 

with the basic pulse as played by the drum without your help. 

Note: American students and teachers may not be able to clap along with these rhythms easily. Practice 

clapping these rhythms so that you are more comfortable leading your students in this activity. 

Play “Mastika #2” (Track 26) again. While the music plays, have students (in pairs) try to count out and 

clap the basic beat. Ask for pairs of student volunteers to demonstrate counting and clapping while the 

music plays. 

ask students: 

“Who can tap the basic beat of this music on their own?” 

“What number is organizing the pulses in this song?” 

Play “Mastika #3” and “Mastika #4” (Tracks 27–28), recorded with a drum and two different counting 

methods that are spoken out loud along with the music. While the music plays, have students tap and 

say the numbers along with the recordings, and try to continue even after the counting voice fades out. 

Ask students to volunteer tapping and counting out loud. 

ask students: 

“Which counting method do you find easier?” 

“How would you define the numbers that organize the pulses of this song?” 

“What kind of dance do you think goes along with this music?” 



• “This song is called ‘Mastika,’ and its rhythm known as Kars¸ ilama. Kars¸ ilama is an important dance 

rhythm in Turkish folk music, especially for Romani musicians.” 

• “We have been listening to simplified versions of the melody so that we could focus on the rhythm 

of the song. Here is the way the melody sounds when played in the Romani style by clarinetist 

ismail Lumanovski.” 

Play “Mastika #1” (Track 25) for the class. 

ask students: 

“How is this version different from the melody we have been listening to?” 

“Which version of ‘Mastika’ do you prefer? Why?” 

Note: You may want to play all versions of the song (Tracks 25–28) to help students decide which version 

they prefer. 






Istanbul at Carnegie street street Hall market 

50 



fInal ConCeRT: WHaT To eXPeCT 

On May 14, 2009, you and your students will attend the final concert of this program in Carnegie Hall’s 

Zankel Hall. A host will welcome you to the event and guide you through the entire concert. 

Selim Sesler and his ensemble will perform several pieces, some of which you will be familiar with from 

these curriculum materials. During the concert, students from your class and other classes involved in the 

Citi Global Encounters program will have opportunities to share some of their work from this year’s program. 

Students will be invited to participate by: 

• sharing their impressions on the place of freedom and structure in the Selim Sesler’s music 

(Activities 1 and 2) 

• sharing their Freedom and Structures Projects (Activity 4) 

• improvising along with “Black Grape Seed” from Teaching Artist visit 1 

Note: if you have something that you would like to share at the event, please notify the Carnegie Hall staff or 

your teaching artist at least one month before the concert. 

Student participating in a school concert at Carnegie Hall 

Student participating in a school concert at Carnegie Hall 


suPPorting 

Materials 


MeeT THe ARTIsT HAndoUT 

SELIM SESLER 

selim sesler was born into a family of professional reed horn musicians in 1957 in Kesan, a village 

located in edirne, turkey. During the 1960s, many children from drum and reed-horn musician families 

began to play turkish classical ensemble instruments; sesler learned to play the clarinet. 

already a regular performer at weddings and fairs by age 14, sesler set out with romani, or gypsy, 

musician friends to play in istanbul by the mid-1980s. He gained experience and recorded a lot of 

material by playing at restaurants, performing at the ferhan sensoy theater, and continuing to play 

at romani and non-romani weddings. in 1998, sesler got the chance to tour Canada with Canadian 

folk singer brenna MacCrimmon, which afforded him the opportunity to represent his turkish romani 

and rumelian (a term used during the ottoman empire to refer to a region in the southern balkans) 

roots. Drawing from his eclectic musical experiences, Mr. sesler developed a repertoire and musical 

style deeply reflective of his region. 

selim sesler now performs as a solo and collaborative musician. He is known for his master improvisations 

and repertoire of dance melodies and wedding airs. aside from being invited to play at many 

important festivals in countries including germany, france, and sweden, Mr. sesler has performed 

many special concerts and taught at music workshops across the united states over the past two years. 


Selim SELIM Sesler 

SESLER 


seliM on iMProVisation 

“i play my own compositions, and i also play balkan styles, romani style, and traditional authentic music. 

i also play turkish classical music. after all, our specialty is that kind of music. 

“improvisation—that is between me and my clarinet. for improvisation, there is no notation. improvisation 

is something that comes from the brain, from the soul, from the heart, and goes through the clarinet. there 

is no set form—it’s a form of inspiration.” 

seliM on MusiCal struCture 

“there is no such thing as working on a makam [a structured group of notes used in turkish music]. if you 

want to, move from one makam to another … but it must be pleasing to your ear. now if you start to move 

towards a makam as if you are falling down on a branch, it will be harsh to your ear—in other words, it will 

be ugly. 

“Within the turkish classical makam system, you have to play without disturbing the ear. this is in all 

music, and in romani music. there is music theory. those who know theory know this. but some who 

play do not know this. they do not have the ability. if you cook without using salt, then it becomes a 

tasteless dish. if you add salt, what happens? Does it not add flavor? these things are like that. that is, 

you play well if you are able to play tastefully, but if you do not, you cannot play. it is that basic.” 

seliM on tHe DifferenCe betWeen roMani anD non-roMani MusiC 

“there is not a clear difference between romani music and turkish music. but of course romani music 

is more kıvrak [in other words, more agile and lively], more merry. turkish music is a bit slower, and 

more heavy. this liveliness is from our soul. romani style is something that comes from within. this 

is feeling. the ear is able to listen well. We have this. romani musicians play warmly; non-romani 

musicians play cold. 

“there are non-romani clarinetists, but in their entire lives they cannot play like the roma, cannot play 

lively like us. their feeling is missing, the melodic phrases are missing. i still check it out; i listen, and 

sometimes they do not do the koma [microtones particular to turkish music] right. they cannot make it 


lively. at our Carnegie style is Hall to give feeling to music, to feel it well so that people will say, ‘What beautiful melodies; 

how did he do that?’” 

These The quotes Weill are Music taken from Institute interviews with Selim Sesler and his son Ramazan Sesler in Istanbul, Turkey, 

conducted at Carnegie by phone Hall by Sonia Seeman, October 6, 2008. Reprinted with permission of Sonia Seeman. 




54 



InTRoDUCTIon To TURKeY 

Turkey is a eurasian country that stretches across the anatolian peninsula in western asia and thrace 

in southeastern europe. turkey borders eight countries: bulgaria to the northwest; greece to the west; 

georgia to the northeast; armenia, azerbaijan, and iran to the east; and iraq and syria to the southeast. 

the Mediterranean sea and Cyprus are to the south; the aegean sea and archipelago are to the west; 

and the black sea is to the north. separating anatolia and thrace are the sea of Marmara and the 

turkish straits (the bosporus and the Dardanelles), which are commonly reckoned to delineate the 

border between asia and europe, thereby making turkey transcontinental. 

Due to the country’s strategic location astride two continents, turkey’s culture has a blend of eastern and 

Western tradition. turkey has come to acquire increasing strategic significance, as it is a powerful regional 

presence in the eurasian landmass with strong historic, cultural, and economic influence in the area between 

the european union in the west and Central asia in the east, and russia in the north and the Middle 

east in the south. 

turkey is a democratic, secular, unitary, constitutional republic whose political system was established 

in 1923 under the leadership of Mustafa Kemal atatürk, following the fall of the ottoman empire in the 

aftermath of World War i. since then, turkey has become increasingly integrated with the West. turkey 

began full membership negotiations with the european union in 2005. Meanwhile, turkey has continued 

to foster close political, economic, and industrial relations with the eastern world, particularly with the 

states of the Middle east, Central asia, and east asia. 

Istanbul (known earlier in its history as byzantium and later Constantinople) is europe’s most populous 

city and turkey’s cultural and financial center. the city covers 27 districts of the istanbul province. it is 

located on the bosporus strait and encompasses the natural harbor known as the golden Horn in the 

northwest of the country. it extends both on the european and on the asian side of the bosporus, and 

is thereby the only metropolis in the world that is situated on two continents. 

InTRoDUCTIon To RoManI MUsIC anD HIsToRICal baCKGRoUnD 

Various groups collectively referred to as “gypsy” moved into the anatolian peninsula (or present-day 

turkey) as early as the 11th century. three of the gypsy groups can be found in present-day turkey: 

Dom (Middle eastern groups that speak a dialect called Domari), lom (people who speak lomavren, 

a language with armenian elements), and roma (european groups that speak a language known as 

romanes, which contains many greek words). the roma used bears for entertainment, fortune telling, 

and warding off the evil eye. in addition to entertainment with trained animals, romani acrobats, 

jugglers, and dancers often performed and traveled as a troupe. 

Dom, lom, and romani groups contributed to the vigor of the ottoman empire (an area that existed from 

about 1250–1922 and spanned southeastern europe, africa, and the Middle east at the height of its power). 

these groups were not only entertainers, but participated in a number of other occupations and trades, as 

metal smiths, sieve makers, animal traders, flower-sellers, makers of grates and tongs, food vendors, and 

basket weavers. During the ottoman period, romani professional musicians continued to provide important 

musical services. roma from musician families were conscripted into service as musicians for mehter, 

the romani military ensemble; when the mehter was abolished in 1826, mehter musicians continued to 

perform for celebratory ritual events in smaller ensembles consisting of çifte nacra (small kettle drums), 

davul (a double-headed bass drum), and zurna (a double-reed wind instrument). Musicians from romani 

and related groups also used music to sell goods such as macun (“taffy”) or to accompany trained dancing 

animals, such as bears, chimpanzees, and baboons. 


—sonia seeman 


© 2009 The Carnegie Hall Corporation. Carnegie Hall grants teachers permission to duplicate these pages for classroom use.

instruMent guiDe

ClaRIneT 



Materials and Techniques 

The kanun is constructed by skilled craftsmen in Turkish workshops. The instrument is made completely by 

hand with up to seven different kinds of wood. The top of the kanun is made of sycamore wood; the back, of 

pine wood; and the bridge, of maple. The design on the sides and top is cut from rosewood and white pine. 

The The sound Weill board Music is completed Institute by using either fish skin or calf leather, giving the instrument its rich resonance. 

The at strings Carnegie are made Hall of six different diameters of high-grade nylon. 



History 

The clarinet is a musical instrument in the woodwind family. it was developed 

around 1760 from a Baroque instrument called the chalumeau , which looked 

similar to the modern recorder. This instrument consisted of a cylindrical bore 

with a series of holes, similar to a recorder, but with a single-reed mouthpiece, 

like that of the modern clarinet. Among many other types of music, the clarinet is 

prominent in Bulgarian wedding music, an offshoot of Romani traditional music. 


Clarinet bodies have been made from a variety of materials including wood, plastic, hard rubber, metal, resin, 

and ivory. The vast majority of clarinets used by professional musicians are made from African hardwood. Today, 

the instrument uses a single reed usually made from the cane of arundo donax, a type of grass that originated 

in the Mediterranean. Reeds may also be manufactured from synthetic materials. When air is blown through the 

opening between the reed and the mouthpiece, the reed vibrates and produces the instrument’s sound. The 

body of a modern clarinet is equipped with numerous tone holes, seven of which are covered by the fingertips 

(including one in the back, which is covered by the thumb), while the rest of the holes are opened or closed 

using a complex set of keys. 

KanUn 

History 

The kanun—meaning “canon” or “law”—is one of the most common Turkish 

instruments, and is similar to the Turkish zither. it is believed that the kanun 

has been in use continuously since the ninth century and was invented by the 

Turkish scientist Farab, who lived from 870 to 950 AD. 


58 



DaRbUKa 

History 

The darbuka is a goblet-shaped hand drum of ancient origin used in Arabic, Persian, 

Balkan, Armenian, Azeri, and Turkish music. its thin, responsive drumhead and 

resonance help it to produce a distinctively crisp sound. 


The darbuka has a single drum head on one end and is open on the other side. The body may be made of 

beaten, cast, or spun metal (usually aluminum or copper); ceramic (often with a glued-on head); or wood. 

Materials for the head include synthetic plastic or more traditional animal skins, such as goat or fish skin. 

in general, darbukas tend to have much lighter heads than African or indian drums. The darbuka may be 

held under one arm or held between the knees while seated. it produces a resonant, low-sustain sound 

when played lightly with the fingertips and palm. To alter the tone, some players move their fists in and 

out of the bell. 

bass GUITaR 

History 

The bass guitar, or electric bass, is a low-pitched string instrument. The bass is 

typically similar in appearance and construction to an electric guitar; however, the 

bass guitar contains a larger body, a longer neck, and four strings tuned one octave 

lower in pitch than the four lowest pitched strings of a guitar. The bass is typically 

used in many different styles of music, from rock and metal to blues and jazz. 


Most electric basses, including the body and neck of the instruments, are made from wood. The electric 

bass, in contrast to the upright bass (or double bass), is played in a similar position to the guitar, held 

horizontally across the body. Bass players determine the pitches of notes by pressing the strings down 

on the neck with the left hand; to make the notes sound, they use their right-hand fingers to pluck the 

strings or use a plastic plectrum (a “pick”). The strings of the electric guitar vibrate close to electronic 

“pickups” set into the body of the bass. These pickups send the sound as electricity to an amplifier and 

speaker through a cord. 



DRUM KIT 







History 

The very earliest drum kits were developed in England in the 1700s. Until this time, 

drums and cymbals were played seperately in military and orchestral music settings. 

Drum kits enabled drummers to play multiple percussion parts in smaller performance 

spaces. 


A drum kit, or drum set, is a collection of drums, cymbals, and sometimes other percussion instruments arranged 

to be conveniently played by a single drummer. Drums are made of wood and have metal rims. Drum heads are 

made of plastic and come in a variety of sizes. Metal cymbals were introduced to the drum set when people found a 

way to hang the cymbals above the drums—initially using curtain cords. The individual instruments of a drum kit are 

struck by a variety of implements held in the hand, including sticks, brushes, and mallets. Two notable exceptions 

include the bass drum, played by a foot-operated pedal, and hi-hat cymbals, played either by using a foot pedal or by 

striking them with a stick. 

Carnegie Hall has referenced Grove Music Online and Wikipedia for this Instrument Guide. 


60 



IblIoGRaPHY 

The straight Dope 

straightdope.com/columns/read/624/was-the-melody-of-the-star-spangled-banner-taken-from-an-old-drinking-song 

The Colonial Music Institute 

colonialmusic.org/Resource/Anacreon.htm 

Pigments through the ages 

webexhibits.org/pigments/indiv/color/reds2.html 

S¸ inanari 


CITI Global enCoUnTeRs TURKeY CD TRaCK lIsTInG 

SOLO INSTRUMENTS 

1. Clarinet example 

2. Kanun example 

3. Darbuka example 

4. Bass guitar example 

SELIM SESLER SONGS 

5. “Kasap Havasi” 

6. “Kara Üzüm Habbesi” (“Black Grape Seed”) 

7. “S¸ u Köyceğiz Yollari” 

8. “Melodic Sesler” 

9. “Crying for Soda, Fainting for Lemons” and “Kirmiziyi Severler” (medley) 

FREEDOM AND STRUCTURE LISTENING MAP 

10. “Kasap Havasi” (bass) 

11. “Kasap Havasi” (drums) 

12. “Kasap Havasi”: Main Melody A (clarinet) 

13. “Kasap Havasi”: Main Melody B (clarinet) 

MUSIC IN TURKEY TODAY 

14. “Adhan–Shaam” 

15. “Ah Annem–Orientation” 

16. “Biz Bizi–Aziza A” 

17. “Prophecy–Harem Club” 

PROJECT EXAMPLE: MUSIC 

18. “S¸ inanari #1” (straight, slow) 

19. “S¸ inanari #2” (straight, slowest) 

20. “S¸ inanari #3” (free) 


TEACHING at Carnegie ARTIST Hall VISIT 1 

21. “Kasap Havasi” (bass and drums looped from recording) 

22. “Kara Üzüm Habbesi” (“Black Grape Seed”) (hand-drum rhythm looped from midi) 

23. “S¸ u Köyceğiz Yollari” (darbuka break looped with drone from recording) 

24. “Melodic The Weill Sesler” Music (darbuka Institutebreak 

looped from recording) 



25. “Mastika #1” (solo, free) 

26. “Mastika #2” (drum) 

27. “Mastika 

The Weill 

#3” 

Music 

(drum 

Institute 

and voice one) 


28. “Mastika #4” (drum and voice two) 

Photos: (p. 5) Istanbul at night by Latif Bolat; (p. 7) Sesler by Edwin Gardner; (p. 11) A square in Istanbul at night by Latif Bolat; (p. 13) Hagia Sophia by Latif Bolat; (p. 17) Instruments by Latif Bolat; 

(p. 20) Sesler picnic by Sonia Seeman; (p. 24) Vegetable stand by Latif Bolat; (p. 29) Cappadocia by Latif Bolat; (p. 31) Sesler performing at restaurant by Sonia Seeman; (p. 50) Istanbul street market 

by Ann Baranski; (p. 51) Distance Learning Event by Julien Jourdes. 

62

roMani MusiC of turKeY - Carnegie Hall

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