Mete Sakpmar, who was born in Ankara, May 5, 1954, is a contemporary Turkish composer. His compositions were played in various countries like Turkey, France （1980-1983）, Canada, Australia, Sweden, Norway, Hungary, A...Mete Sakpmar, who was born in Ankara, May 5, 1954, is a contemporary Turkish composer. His compositions were played in various countries like Turkey, France （1980-1983）, Canada, Australia, Sweden, Norway, Hungary, Albania, Belgium, Holland, and German, and he also joined lots of seminars, radio, and television programs. His inspirational sources are traditional Turkish music, modern French music, American cultural traditions, as well as jazz, acoustic, and electronic music. His music, in summary, is about taking a little from tonality, twelve-note system, coincidences, improvisations, etc., and joining them with his own experiences like emotions, knowledge, and intelligence. Sakpmar always defends that the composer of the day has to benefit from lots of various sources. He is doing this as well as trying new forms in every new piece. It does not matter if these are tonal, atonal, serial, or modal but it must be personal. All the borders and capacities of the instruments have to be forced.展开更多
文摘Mete Sakpmar, who was born in Ankara, May 5, 1954, is a contemporary Turkish composer. His compositions were played in various countries like Turkey, France （1980-1983）, Canada, Australia, Sweden, Norway, Hungary, Albania, Belgium, Holland, and German, and he also joined lots of seminars, radio, and television programs. His inspirational sources are traditional Turkish music, modern French music, American cultural traditions, as well as jazz, acoustic, and electronic music. His music, in summary, is about taking a little from tonality, twelve-note system, coincidences, improvisations, etc., and joining them with his own experiences like emotions, knowledge, and intelligence. Sakpmar always defends that the composer of the day has to benefit from lots of various sources. He is doing this as well as trying new forms in every new piece. It does not matter if these are tonal, atonal, serial, or modal but it must be personal. All the borders and capacities of the instruments have to be forced.
