Hindemith stayed in Turkey a total of four times between 1935 and 1937. During this period he was deeply involved in the establishment and pedagogical orientation of the Conservatory in Ankara. In three reports, he defined the basic fundamentals of his musical-didactical work and conceptual ideas. Hindemith’s suggestions have been treated in isolation in the research undertaken, and received as an element of biography before the backdrop of his precarious situation in Nazi Germany. A different approach has been chosen by Ibrahim-Kaan Cevahir, who sheds light on the past history and consequences of Hindemith’s activities from the Turkish perspective and points out the cultural-political dimensions of these measures. By integrating the known events into a socio-cultural context, new facets of a cultural-political event of the first rank are shown.
The strength and long-ranging consequences of Hindemith's activities in Turkey are confirmed by the world-renowned composer and pianist Fazıl Say in an interview with Andreas Krause. He refers to the significance and influence of Hindemith's suggestions for reform on the musical education of Turkish music teachers, instrumentalists and composers up to the present day.