Ottoman Music

Turkish makam music was at its origins, an orally transmitted, learned and performed tradition. The passage to written music started a hot debate that caused a sharp division among musicians, between the defenders of the meşk system and those who are for writing both the contemporary works and the older ones. We analyze this apparently technical issue as a sign of modernization in Turkey. The rising need to write music and to consume written music have been considered, in our view, as explicit manifestations of modern attitudes related to rationalization and standardization. We stress that the evolution of the Turkish makam music reveals a series of indications for situating modernizat ion in Turkey.

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"Wojciech Bobowski (Ali Ufki) - a Talented Pole at the Ottoman Court".
The article presents the biography of an outstanding, yet complitely forgotten Turk of Polish origin. Wojciech Bobowski vel. Bobovius (1610?-1675?) is better known by his Turkish name, Ali Ufki, foremost as a Turkish composer and the Ottoman-music theorist.
However, his talents and schievements are greater. He was also a polyglot and his talent was appreciated and admired in the circles of the Ottoman elite as well as European diplomats and travellers. As a translator, a teacher of the Turkish language and culture Ali Ufki became a link between the East and the West in the second half of 17th century. He wrote and translated linguistic, religious and literary works, among others, one of the first Ottoman-Turkish translations of The Bible.
In his biography, reconstructed on the basis of secondary sources, many blank spots still exists. The newest biography of Bobowski in Polish literature, written in 1935 (!), is out of date in the light of today's dicoveries.
Therefore, this paper aims to present the new version of Bobowski's biography, based on the newest European and Turkish sources.

Osmanlı İmparatorluğu’nun klasik Batı müziği ile belgelendirilmiş olan ilk tanışmaları 1553 yılında Fransa Kralı I. François’nın Kanuni Sultan Süleyman’a teşekkür etmek için gönderdiği bir orkestra ile başlar. Oysaki Osmanlı’da Batı müziğinin benimsenmesi imparatorluğun son yüzyılını kapsamaktadır. Bu yüzyılda modernleşme, toplumun pek çok alanında etkisini gösterdiği gibi kültürel alana da nüfuz etmiştir. Müzik, bu modernleşme sürecinin dinamik bir takipçisi olmuştur. Osmanlı’nın resmî anlamda klasik Batı müziğine ilgisi Sultan III. Selim zamanında olsa da, asıl etkileşim Sultan II. Mahmut’un 1828 yılında Batı usulünde askerî bandolar oluşturması ile başlar. Böylece bu yeni resmî müzik, önce saray ve bürokraside, zaman içerisinde de sivil hayatta kalıcı bir yer edinir. Bu araştırmada, Osmanlı vatandaşı olup Avrupa’da müzik eğitimi alarak ülkesine dönen ve bu alanda çalışmalar yapan müzisyenlerin, Osmanlı’da Batı müziğinin gelişmesinde olan etkileri açıklanmaya çalışılmıştır.

Dans le texte qui suit, il est question du «phénomène hétérophonique». Le but de la présentation est de montrer en quoi les analyses qui sont généralement présentées par les différents chercheurs sont, sinon fautives, du moins peu éclairantes et restent à la surface des choses, sans questionner certains fondements qui, je pense, devraient être questionnés. Je présenterai ensuite ma propre version du phénomène. Pour ce faire, je traduirai le débat en termes cognitifs, car les problèmes me semblent se situer précisément au niveau de la théorie cognitive (implicite en général) partagée par les chercheurs 2 .

As the Association of Ethnomusicology-Turkey, we had to postpone the organization we planned to organize in early June with the partnership of the Hungarian Cultural Center, due to the pandemic period, within the framework of our goals to organize a symposium every two years. However, after March, when we entered the pandemic period, we made our online symposium decision in April and made our call quickly. According to my screening, the call to the Society for Ethnomusicology and the date of the symposium took its place as the first study in this sense in the field of ethnomusicology, even in social sciences. We determined a unique form of communication by carrying out the uncertainty brought about by being the first, through the association's youtube channel and Instagram account. The fastest issue to be organized in order to pass this process, which many researchers, academics and students found themselves in the most effective and productive way, was also to read the process we were in with our own methods. [...]

Creațiile muzicale teoretice ale principelui Dimitrie Cantemir au suscitat interes pentru muzicologi 1 , în special, dar și pentru celelalte categorii de muzicieni 2 precum și pentru istoriografi 3 , antropologi 4 , etc. Un număr însemnat de articole, studii și cărți de specialitate au fost publicate încă din secolele XVIII-XIX, autorii acestora surprinzând aspecte mai mult sau mai puțin inedite ale creațiilor principelui moldav 5 dar și aspecte legate de biografia sa cum ar fi ne/concordanța unora dintre datele expuse de acesta din urmă în operele sale 6 cu realitațile epocii descrise. Daca abordarea tratatului de teorie muzicală de către eminenți cercetători ca Eugenia Popescu-Judetz, Owen Wright sau Walter Feldman 7 a fost realizată frontal raportându-l contextului cultural otoman de tradiție turcă, arabă și persană, totuși, sunt lapidare abordările comparate cu celelalte tradiții muzicale din cadrul imperiului cum sunt cea greacă, cele din principatele românești sau cea de factură bizantină.

Music represents one of the main forms of manifestation for the political power, especially for the medieval period, primarily due to the fact that the ruler was the only one who laid claim to such kind of music. Apart from this, the ruler was also the owner of other various musical ensembles, known as "courtly music", which had the role of providing a pleasant ambiance, of relaxing the audience and, last but not least, as a manifestation of one's superiority towards their subjects. In the many events housed at the court, one can notice both the official (military) type of music, already mentioned above, but also the private one, more frequently and obviously encountered during feasts and parties, but in other cases, too, such as during the religious holidays or for the most common moments of relaxation. Regardless of its nature, music represents a way of multiple expression for political power and legitimacy, but also its most effective "transmission" instrument.

The Master’s thesis titled “Beginnings of Musical Performing Arts in Turkey-
Before and After Dikran Çuhacıyan,” focuses on western performing arts in the Ottoman Empire during the westernization movement in the Tanzimat (reformation) and early Republic period. Operas and operettas of the most prominent composer of the period, Dikran Çuhacıyan, are analyzed. The thesis shows that musical performing arts became one of the pillars of the cultural policies of the republican period and was one of the major cornerstones of musical revolution.

Sâbit olan vezn-i mûsikî çarh-i âsmândan dakîka-i zamân gibi darb-ı mızrâbdan hâsıl olur. Öyleki her mızrâb bir ola ve her perdenin üzerinde bir mızrâb mevcûd buluna. Ve ol kadar tiz hareketlü ola ki iki mızrâbın arasında bir mızrâb dahi utulmak mümkün olmaya. El-hâsıl-ı kelâm ilm-i hikmetde zerre mikdârı ne ise ilm-i mûsikîde dahî vezn-i darb-ı mızrâb oldur. (Edvâr I, 6) Bir eser içindeki en küçük mızrap vuruşunun süresine karşılık gelen sabit vezin, o eserdeki bütün notaların nisbî uzunluklarının gösterilmesi için bir 215 MEHMET UĞUR EKİNCİ temel ölçüm birimi işlevindedir. Eser içinde geçen bütün notalar bu birimin katları şeklinde yazılır. Sabit vezin kavramının modern Türk müziği nazariyatındaki en yakın karşılığının "vâhid-i kıyâsî" olduğu söylenebilir.

Öz On sekizinci yüzyıla gelindiğinde, Osmanlı İmparatorluğu, Batı medeniyetle-rinin bilim, sanat, askeri, siyasi vs. alanlardaki gelişmelerinin gerisinde kalmış, bu sebe-ple çeşitli alanlarda yenileşme çalışmalarına girişmiştir. Her değişim sürecinde olduğu gibi, Osmanlı modernleşme hareketi de seyir olarak sarsıcı ve sancılı bir süreci içermiştir. Toplumsal ve ekonomik sonuçları kadar kültürel boyutlarıyla da yeni davranış kalıplarını halkın pratik yaşamına sokan modernleşme, güzel sanatların özellikle müziğin gelişimini etkilemiştir. Bu yenileşme hareketleri içerisinde Mehterhâne kapa-tılmış yerine ise Cumhurbaşkanlığı Senfoni Orkestrası'nın da temelini oluşturduğuna inanılan, daha modern ve Batılı tarzda bir müzik topluluğu olarak Muzıka-ı Hümayun kurulmuştur. Mehterhanenin yerine getirilen bu kurumla, yani saray ve ordu kanalıyla imparatorluğun çok bileşenli kültür yaşamına resmen dâhil olan Batı müziği, ileride Türk toplum yaşamını çeşitli düzeylerde etkilemiştir. Donizetti ve Guatelli gibi seçkin müzisyenlerin elinde saygın bir kuruma dönüşen Muzıka-ı Hümayun, kurumsal olarak müziğe olan katkılarının yanı sıra, Osmanlı İmparatorluğu'nda müzisyenliğin önem ka-zanmasında, Türk müzik kültürünün gelişiminde ve Türk toplumunun Batı müziği ile ilişkisinde çok önemli bir yere sahip olmuştur. Muzıka-ı Hümayun, başlarda Os-manlıların Batılı bir monarşi olma mücadelesinin bir yansıması olarak görünse de günümüzde Cumhurbaşkanlığı Senfoni Orkestrası'yla birlikte, kültürel modernleşme projesinin görünürlük kazandığı özgün bir oluşumdur. Abstract By the beginning of 18th Century Ottoman Empire has stayed behind the Western civilization in the fields of science, art, military etc. and embarked some moderniza

Both Ottoman and modern Turkish theorists have little to say about the relationship of melody and rhythmic cycle (usul). The present article is a preliminary attempt to define Ottoman musical practices in both short and long rhythmic cycles, within both instrumental and vocal music.

Ali Ufkî Bey (Wojciech Bobowski) is one of the most important figures of the Turco-Polish cultural relations, and a product of both worlds. He was born around 1610 in a village near Lviv, which belonged to the Polish-Lithuanian Commonwealth at the time. He was captured during a war and brought to Istanbul. He was then educated at the Ottoman court and served as interpreter and counselor for many years. He was a musician and could speak several languages. After his release, he chose not to leave Istanbul, where he probably died around 1675. Ali Ufkî Bey left behind various works on music, languages, religion and Ottoman court life. From a philological and musical point of view, this paper will discuss a hymn, which is found in both of his major works containing notes and texts. This hymn was released as a cassette sound recording in Turkey in the late 1980s. Gaining certain popularity since then, it is written and interpreted with a modern pronunciation, containing different musical features and notations by modern musicians. In this paper I will try to reconstruct the text and music, which is to be followed by a live oud performance and singing of the hymn adhering to its authenticity.

Özet
Osmanlı insanı için 19. yüzyıl, evveliyatında yaşanan zor süreçlerin artık sona erdiği, rahatça nefes alınan bir dönem değildir. Gerek siyasî gerek içtimaî alanda yaşanan zorluklarla beraber devletin ihtişamlı günlerinin arkaik heyecanları da duyulur; bakılan zaviyeye göre yorumlanabilecek olan toplumun çözülüşü veya toparlanışının aynı anda yaşandığı bir dönemdir. Yine bu zaman diliminde Türk toplumunun ileriye dönük problemlerinin tamamıyla çözüldüğü de söylenemez. Kesin olarak söyleyebileceğimiz bir yargı ise son derece hızlı gerçekleşen değişimin varlığıdır. Karşılaştığı çeşitli badireleri aşmaya çalışırken bir tarafta sarığından vazgeçmeyen "uyumcu" , diğer tarafta istanbulin giyen "değişimci" farklı çevrelerin eski ve yeni pratikleriyle oluşturduğu kültürel birikim, bugünün zihin dünyasının oluşmasında da önemli rol oynar. Ortaylı'nın "İmparatorluğun En Uzun Yüzyılı" olarak adlandırdığı bu dönemde, sanatta ve edebiyatta yeni dinamikler ve bunun sonucunda yeni, geniş bir repertuar da bırakılmaktadır. 19. yüzyılda Dinî Türk Musikisi'nin, kendi kültürel kurumlarında en üretken devrini yaşadığı malumdur. Ancak burada ele alınan konu tekke veya cami gibi dinî kurumlarla organik bir bağı bulunmayan, dışarıdan bir müzisyen için dinî musikinin ne ifade ettiğidir. Başka bir ifadeyle dinî musikinin bu kurumlar dışında da varlık göstermesi düşünülebilir mi? En uzun yüzyılın çalkantıları arasında musiki sanatının özgür ruhlu ve duyarlı dehası Tanburî Cemil Bey'in hayat hikâyesindeki kimi detaylar, var olduğu dünyanın tinsel ilkelerini ve bu dönem insanının kültürel kodlarını çözümlemek adına önemli izler içerir. Cemil Bey örneklemiyle, 19. yüzyılda dinî musikinin yaşadığı gelişmelere farklı bir bakış, Tanzimat aydınındaki dinî eğilimler ve bunun musikiye yansıması bu tebliğin ana temasını oluşturacaktır.

Abstract
For the Ottoman people, the 19th century is not a period in which the difficult processes that have taken place in the past have ended, and they are not easily breathed. Along with the difficulties in political and social life, the archaic excitement of the glorious days of the state is heard; It is a period in which the dissolution or recovery of the society, which can be interpreted according to the observed standpoint, is experienced at the same time. Again, it can not be said that the future problems of the Turkish society have been solved completely at that time. A judgment we can say for sure is the very existence of rapid change. While trying to transcend the various types of problems, "status quo supporter" who does not give up wearing fez on the one hand and "innovator" who wears redingot on the other; the cultural accumulation of old and new practices of different circles plays an important role in the formation of the present world of mind. In this period, which Ortaylı calls "The Longest Century Of The Empire," new dynamics in art and literature and, as a result, a new, wider repertoire are left. Religious Turkish music is in the most productive period in its own cultural institutions in 19th century. However, the issue addressed here is what religious music means for an outside musician who does not have an organic connection with religious institutions such as tekke or mosque. In other words, is it possible to think that religious music also existed outside these institutions? Among the turmoil of the longest century, genius of the Turkish music: "Tanburi Cemil Bey" who the free-spirited and courteous, some details of his life story contains important traces in order to analyze cultural codes of the people of that period and the fundamental principles of the world he belongs. In Tanburi Cemil Bey's example, a different look of the developments experienced by religious music in the 19. century, the religious tendencies in Tanzimat intellectuals and the music dimension of this understanding are the main theme of this paper.

Given that today’s discourse around rebetiko, especially originating from fans and practitioners, often comprehend the style’s world as something ‘closed’ and ‘entrenched’, the examination of the work of Spyros Peristeris can grant a new perspective regarding the dialogue between dipoles and the convergence in diversity. With a father from Corfu and a Greek mother of Italian citizenship of Corsican descent, Peristeris was born in Smyrna, studied at an Italian school in Constantinople and finally moved to live in Athens. Despite this, recordings of his were found in New York, subsequent to two voyages with the transatlantic ship ‘Byron’, as a paid musician – Babel or Esperado? Musical hybrids or syncretism? The diversity detected in the corpus of Peristeris gives the impression of more than one composer, since the deviations are many and substantial. Parallel recordings: pieces that refer to the world of the café aman, waltzes, manedes, orchestral pieces based on the bouzouki, types of arias and more. Sometimes using lyrical singers, referring to symphonic musical practices, and sometimes modal style singers diverse in embellishments and gravitations. Sometimes composing inspired by the atmosphere of the world of the mangas [thug, toughie] of Piraeus and sometimes motivated by the discography products of other countries which had an international impact (tango and foxtrot). This paper initially cites a brief biography of Peristeris, setting the framework for the examination and analysis of certain musical samples from his discographical repertoire. The above cartograph the versatility and the polystylism of one of the protagonists of the genre which has prevailed as rebetiko.

This study presents a catalog of the music manuscripts that are preserved in the İstanbul Üniversitesi Nadir Eserler Kütüphanesi (İstanbul University Rare and Manuscript Collections Library). This library is especially important for its numerous music manuscripts, especially lyrics collections, which include private lyrics codices of famous composers, such as Hafiz Post, Itri, Ebubekir Agha, Sultan Mahmud II. While important books on music theory had remained in the Topkapi Palace Library, the most song-text collections were delivered to the newly established Yildiz Palace. The Yildiz Palace manuscript collection was later transferred to the İstanbul Üniversitesi Nadir Eserler Kütüphanesi, after the establishment of the Turkish Republic.
This catalog includes manuscripts at the İstanbul Üniversitesi Nadir Eserler Kütüphanesi. The catalog incorporates those manuscripts which are catalogued under Ibnulemin Collection, which is also preserved in the same library. Istanbul University Library contains 19,864 manuscripts: 9943 manuscripts in Turkish language, 6967 in Arabic, 1618 in Persian, and 81 in various languages, and the 1255 manuscripts in the Ibnulemin collection. While researching for the Catalog of the Music Manuscripts in the Istanbul University, I went through library index cards following any terms related to music. After that I also investigated all miscellaneous compilations as well as all poetry collections in order to identify texts related to music in those. When I realized that a manuscript that was catalogued as a versified hadith collection is in fact a lyrics codex, I investigated all manuscripts that preserve verse texts. In the end, for the Catalog of Music Manuscripts in Istanbul University Library I ended up scanning through almost 8500 manuscripts in order to identify those texts related to music.
The Catalog of Music Manuscripts in Istanbul University Library presents the descriptions of music manuscripts under seven headings: 1. Works on music and dance; 2. Theory and method related works; 3. Lyrics codices: a. “Fasil” compilations, b. Popular Song compilations, c. Mawlawi ayin-i sherif’s lyrics compilation, d. Hymn compilations; e. Miraciyye compilations 4. Composition notebooks; 5. Biographical dictionaries of musicians; 6. Various topics; 7. Works found in miscellaneous compositions. Under these titles 383 works are described. Four of those include discussions on religion, music and dancing, 11 on music theory, 70 various lyrics codices, 4 composition notebooks, 6 biographical dictionaries and 286 manuscripts that contain chapters or sections that are related to music. The oldest dated work among those is a theoretical work on musical modes Zeynü’l-Elhân fî İlmü’t-Te’lîf ve’l-Evzân which is dated 1484.
The Catalog of Music Manuscripts in Istanbul University Library reflects only a small portion of music manuscripts produced and/or preserved in Turkish manuscript libraries. My hope is that it will benefit researchers whose research relate to the field of Ottoman music.

Söz konusu doktora çalışmasında A. Nâsır Dede ve H. S. Arel'in müzikal yaratımları, ilişkiler akışı ve düşünceler paylaşımına konsantre olunarak, yaşanılan andaki yaratımla etkileşim dahilinde sorgulamaya tabi tutulmuş ve bu sorgulama ile birlikte eylemsel ve düşünsel üretimlerin ilişkiselliki muhatap alınmaya çalışılmıştır. Netice itibarıyla Nâsır Dede ve Arel ile, farklı eylem ve düşünce düzlemlerinde ve bu bağlamda kendilerine ait heyecan, araç ve tanımlamalarla üretimler yapmış olan bireyler olarak karşılaşılmıştır. Bu üretimlerle, olabildiğince, spekülatif kavramsallaştırmaların sınırıları dışında muhatap olunmaya çalışılmış, bu süreçte müzikal yaratımın ilişkisel ve paylaşımsal boyutu yön belirleyici olarak tayin edilmiştir.

The Mahur sound which is one of the determinative colors of today's Turkish music has been an aesthetic fact, towards which musical composers, who lived in different societies and periods, approached with their own specific manners. The motives forming the shape of this aesthetics are individual existences establishing relationships with the said social-periodical facts. Abdülbâkî Nâsır Dede (1765-1821), Hâşim Bey (1815-1868) and Hüseyin Sadettin Arel (1880-1955) who proved their existence with their musical creations and thus, could make visionary moves, defined the Mahur maqam with their unique nuances. Nâsır Dede approached to the Mahur maqam in the mysterious world of lahn (errors of speech) which belongs to the world of meanings of Yenikapı Mevlevihane and in this context, arranged the relationships of musical intervals according to the features of tune structures determined by masters of music. Haşim Bey approached to the Mahur maqam within the musical expression style of Western culture which was began to be understood and compared by the individuals of Tanzimat Reform Era. Accordingly, the Mahur maqam corresponds to the sol major in the European style in a sense. In this context, according to Hüseyin Sadettin Arel, the Mahur maqam is similar to major, but as different from major it is a structure dominated by Çargah tunes containing T-T-B-T intervals. For Arel, the said intervals are musical materials which can adapt to modern mind and emotion definitions of nation-state citizens of the Republic. In this respect, the Mahur maqam constitutes a structure having different effects other than the effect area of major. Arel, thus, claims that Turkish music has its own national materilals which are candidate for universality such as Çargah, Buselik, Kurdi, Rast, Uşşak, Hicaz obtained from the nature against the major-minor of the West. Through the article study, the Mahur maqam is questioned intellectually interacted with the perspectives where historicity begins to form which includes society and individual facts in the the triangle of said people's creations.

Lucrarea propune o abordare nouă în istoriografia românească, și anume relația dintre muzică și puterea politică în Moldova și Țara Românească în secolele XV-XVIII. Mai exact, prin acest demers se încearcă relevarea modului în care domnul este evidențiat și reprezentat în public prin intermediul muzicii – cum anume ajută muzica la manifestarea preeminenței domnești. Atât în Occident, cât și în Orient, muzica a fost un atribut al suveranității și, de aceea, relația avută în vedere este mult mai importantă decât se crede la o primă vedere. Prin intermediul celor douăsprezece capitole, autonome din punct de vedere al conținutului, dar unitare prin prisma ideii centrale, sunt prezentate diversele formații muzicale întâlnite la curtea domnească, cea mai importantă dintre ele fiind meterhaneaua, cea care evidențiază cel mai fidel relația muzică‒putere politică, cu un bogat bagaj simbolic. De asemenea, lucrarea este o reevaluare a istoriei muzicii vechi românești, insuficient studiată în România, pornind de la identificarea corectă a tuturor formațiilor muzicale întâlnite la curtea domnească, a instrumentelor muzicale, dar și a termenilor muzicali, întrucât în istoriografia românească dedicată subiectului s-au strecurat multe confuzii și inadvertențe, unele cauzate de traduceri greșite ale izvoarelor literare referitoare la muzică.

Kemalism internalized the western orientalist discourse and judged the orient with the eye of the western orientalists. On the other hand, in accordance with its nationalist nature, it had to struggle against the negative judgments of the western orientalism regarding the Turks. In order to reconcile these two tasks, it created an internal other and made it the object and the target of its orientalist discourse and proceeded to build the new Turkish identity as the opposite pole of this internal other. According to the implicit assumption adopted by Kemalism, westernness or at least inclination towards the west was inherent in Turkishness. In order to reintegrate with the West by returning to its genuine source, The Turkishness had to get rid of the Oriental Ottoman past which had suppressed its inherent inclination towards the west. Music is one of the areas that we can observe this Kemalist orientalism in its most apparent manifestations. According to the official musical policy of the Early Republican period, the Western music represented science, modernity and progress. That corresponds to the concept “latent orientalism” coined by Edward Said. On the other hand, the Ottoman music, identified with the Oriental music, was directly targeted by manifest orientalism and defined by negative judgments. The position of Kemalism towards that music represents the negative judgments of Western orientalism and thus is an apparent example of internalized orientalism. However Kemalists have made a clear distinction between the oriental music and the genuine Turkish music and labeled the traditional Ottoman music as non-Turk. Genuine Turkish music, Kemalists argue, should be looked for among the Anatolian folk songs which they assume to be compatible with the western musical system and untouched by the oriental Ottoman music. This musical discourse which internalizes the western orientalist discourse while Turkifying it, implies a sui generis form of orientalism, that can be called Kemalist orientalism. In this article, the musical view of Kemalist orientalism has been analyzed with special reference to the concepts latent, manifest and self-orientalism.

This thesis examined the Efterpi musical collection being published in Istanbul at 1830. This collection includes 96 Ottoman musical pieces which are transcribed in the New Method of Byzantine musical notation. Thus, I selected five musical pieces and I transcribed them to the western European musical notation. Later on, I compared these pieces with their equivalents in the TRT Musical Archive and I analysed some elements of musical style starting from the end of 18th and the beginning of 19th century. Furthermore, this thesis provides the academia with five totaly new transcriptions that do not exist in any collection, book or academic publication and it contributes to the research of the Ottoman musical style in the aforementioned period since the scholars do not have many sources about this crucial period in the Ottoman musical history.

This paper attempts to highlight the necessity of establishing a connection
between performance and theory in the field of Ottoman Urban Music. In
specific, it is crucial for theoretical thought to have a direct reference to and
depend on interpretative practices and repertoire. In the contemporary theory
of Ottoman Music phenomena, one can witness a contradiction between
the description of Makams and their performance. In this paper, the
phenomena that belong to the wider category of Segah are examined as case
study. Thus, a more functional way of approaching and comprehending the
aforementioned modal phenomena is proposed.
Methodologically, the analytical model that is suggested draws
numerous explanatory examples from masterpieces as well as
historically important renditions (repertorial and improvisational), that
belong to the family of Segah makam.

Osmanlı dönemindeki dinî musikinin en önemli isimlerinden birisi olan Ali Şîrûganî Dede hem kendi zamanında hem de daha sonra bu alanda şöhret sahibi olmasına rağmen günümüzde hak ettiği ölçüde tanınmamaktadır. Bu makalede Ali Şîrûganî Dede tanıtılıp, musikişinaslığı, bestekarlığı ve eserleri hakkında bilgi verilerek Osmanlı müziği tarihindeki konumu ve özellikle dinî musikideki önemi vurgulanmakta ve konu ile ilgili bazı yeni bilgiler sunulmaktadır.

Η μουσική μεταρρύθμιση του 1814 δεν επηρέασε μόνο την εκκλησιαστική μουσική (στην οποία κυρίως απευθυνόταν) αλλά και τη λεγόμενη εξωτερική μουσική, δηλ. την κοσμική (ελληνόγλωσση και μη) μουσική. Μέχρι τότε, είχαν συνταχθεί αρκετές χειρόγραφες ανθολογίες κοσμικών ασμά-των (μισμαγιές) στην παλαιά παρασημαντική, αν και σε ένα εξελιγμένο της στάδιο. Τα άσματα αυτά χρησιμοποιούσαν τους οθωμανικούς τρόπους (μακάμ) και ρυθμούς (ουσούλ), τους οποίους προσάρμοζαν σε ελληνικές φόρμες (κυρίας από το δημοτικό τραγούδι). Οι ανθολογίες αυτές κυκλοφορούσαν κυρίως στην Κων/πολη και τις Παραδουνάβιες Ηγεμονίες και περιείχαν συνθέσεις πατριαρχικών μουσικών, όπως του Πέτρου Λαμπαδαρίου, του Ιακώβου Πρωτοψάλτου, του Πέτρου Βυζαντίου κ.ά. Η σύνταξη ανθολογιών στην παλαιά γραφή συνεχίστηκε μέχρι και το 1820, αν και η μεταγραφή ενός μικρού μέρους τους στο νέο σημειογραφικό σύστημα είχε ήδη ξεκινήσει (κυρίως από τον Γρηγόριο Πρωτοψάλτη). Οι πρώτες έντυπες ανθολογίες κοσμικών ασμάτων εκδίδονται μια δεκαετία αργότερα, με πρώτες την Ευτέρπη (1830) και την Πανδώρα (1843), με επιμελητή τον Θεόδωρο Φωκαέα, ενώ δεν σταματά και η σύνταξη χειρόγραφων ανθολογιών που φτάνει μέχρι τα μέσα του 19ου αιώνα. Από την αντιπαραβολή των καταγραφών στα δύο σημειογραφικά συστήματα προκύπτει ότι η νέα μέθοδος αλλοίωσε τα ρυθμικά και μελωδικά χαρακτηριστικά των ασμάτων, διπλασιάζοντας τις χρονικές αξίες και επιτρέποντας την παρεμβολή μελισμάτων. Το φαινόμενο αυτό παρατηρείται την ίδια περίοδο στην ευρύτερη οθωμανική μουσική και, σύμφωνα με έγκριτους μουσικολόγους, οφείλεται στην επιβράδυνση της ταχύτη-τας των ασμάτων κατά την επιτέλεσή τους. Η ανακοίνωση εξετάζει αυτή τη διαδικασία σε τρία στάδια: α) επιβεβαιώνοντας την ακρίβεια των κατα-γραφών στην παλαιά παρασημαντική μέσα από την αντιπαραβολή τους με σύγχρονές τους καταγραφές στο πεντάγραμμο, β) αναλύοντας τους μηχανισμούς ρυθμικής επιβράδυνσης και μελωδικής πυκνότητας μέσα από τη σύγκριση των καταγραφών στην παλαιά και τη νέα μέθοδο και γ) αποδεικνύοντας ότι οι μετά τη μεταρρύθμιση καταγραφές στην παλαιά παρασημαντική δεν διαφέρουν από αυτές στη νέα μέθοδο.

The musical reform of 1814 influenced not only Greek ecclesiastical music (which it mainly targeted) but also the exoteriki or secular music. By then, several handwritten anthologies of secular songs had been compiled in the old notation, albeit in an analytical way. These songs used the Ottoman modes (makams) and rhythmic units (usuls), which they adapted to Greek forms (mainly from the Greek folk song). These anthologies circulated mainly in Constantinople and the Danubian Principalities, and contained compositions by patriarchal musicians, such as Petros Lampadarios, Iakovos Protopsaltis, Petros Byzantios, etc. The writing of anthologies in the old notation continued until 1820, although the transcription of a small part of them into the new method had already begun. The first printed anthologies of secular songs were published a decade later, the first ones being Euterpe (1830) and Pandora (1843), while the compilation of handwritten anthologies went on up to the middle of the 19th century. 
The comparison of the transcriptions in the two notational systems shows that the new method altered the rhythmic and melodic elements of the songs, doubling the time signatures and allowing the insertion of melismas. This phenomenon is observed at the same time in the wider Ottoman music and, according to eminent musicologists, is due to the slowdown of the tempo during musical performance. The paper examines this process in three steps: a) by confirming the accuracy of the transcriptions in the old notation through their comparison with their modern transcriptions on the stave, b) by analyzing the mechanisms of rhythmic retardation and melodic density through the comparison of the transcriptions in the old and the new method and c) by proving that the post-reform transcriptions in the old notation do not differ from those in the new method.

This study focuses on the «in-between state» which characterizes the position of dragomans of the Sublime Porte through the lens of cultural history and specifically through history of everyday-life and musical orality. The aim of the study is to highlight those aspects of inter-communal contacts and relations among dragomans that were situated on the fringes of writing and their rich textual output. Through the case of the polymath, musician and dragoman Wojciech Bobowski/Ali Ufkî (1610?-1675), this study questions the social and cultural boundaries of dragomans’ environment, around the period of the succession to the post from Panagiotis Nikousios to Alexandros Mavrokordatos.

ÖZ Toplumların muhtelif tezahürlerle yaşattıkları kültürleri, yapı itibariyle bir vücudun organları gibi sürekli etkileşim içinde birbirini beslemekte ve birlikte gelişmektedirler. Mimari, resim, edebiyat, musiki gibi sanatlar arasında mevcut bulunan bu etkileşim, iletişim ve kaynaşma, şiir ile musiki arasında diğerlerinden daha fazladır. İlhamla ortaya çıkan şiir ile musikinin tariflerine baktığımız zaman, ikisi arasındaki bu kaynaşmayı, benzerliği ve bütünlüğü görürüz. Konumuz gereği, " musiki " deyince enstrümanla icra edilen saf musikiyi değil, sözlü musiki eserlerini kast etmekteyiz. Bu çalışmamızda bir yandan her iki sahanın da tanımlarına eğilirken diğer yandan da 18. yüzyıla ait divanlarda tespit ettiğimiz beyitler üzerinden musiki terimlerinin şiir zemininde gerçekleştirdiği anlam açılımlarını ortaya koymaktayız. Neticede görürüz ki şiir ile musiki birbirinin elinden tutar ve birbirini anlam açılımları ve derinliği noktasında bir adım daha öteye taşır.

Ottoman has had a traditional art music culture, called the Ottoman Art Music, in the maqam music culture of Middle/Near East, which is from the 9th century. However, the 19th century was a period of significant change of Ottoman State in the context of Westernization/Occidentalism. This changing included many innovations were reflected in the state's daily lives and musical culture. It was an acculturation movement from Europe to Ottoman. So the clothes, architecture, design, education in daily life changed; and also there were some innovations in the musical culture. Ottoman Art Music developed and changed within the context of musical materials, composition and performance during the existence of the Ottoman empire. All the musical innovations were carried out by the European musicians who were living in Istanbul or in Europe. The European and Ottoman musicians composed the new works by the new musical forms or they transformed some European music forms the Ottoman-specific manner, but their details have not been investigated until now. So this paper investigated a question, what the new musical composition styles and forms in Ottoman music culture relation to the European musical acculturation, with descriptive and interpretive approaches within the framework of Historical and Systematic Musicology.

Mehter music or „Mehterhâne” represents the military music used in the Ottoman Empire both in times of war and in times of peace.  It had as main purpose the accompaniment of the Ottoman armies in war.  During the battle, the roles of this band were those of inducing the soldiers a winning spirit, of motivating and lifting the spirits of the people, of keeping the cadence of the attacks, of setting the sound signals of the various military manoeuvres, as well as that of celebrating the victories. In times of peace, the mehter music was part of religious celebrations and private events. It could be listened to by a great number of people, starting with the sultan and ending with the common people, due to the fact that the great dimensions of the orchestra and the powerful sounds did not allow it to manifest itself in small, restricted spaces. Thus, it became accessible to everyone. Another characteristic of the mehter music is in close connection with the political power, which it symbolises and represents in various circumstances

Review of K. KALAITZIDIS, Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to early 19th century), trans. by KYRIAKI and DIMITRI KOUBAROULIS, Würzburg 2012 (Istanbuler Texte und Studien, 28), pp. 356, € 75, ISBN 978-3-89913-947-1

Music is a universal art and narrative, but its universality can only be perceived through the diversity of cultures and countries. In Turkey, especially Istanbul and its surroundings had a close commercial and cultural relationship with Europe during the Ottoman era, which instigated a cultural interaction maintained till now. The cultural and artistic exchange between the Ottoman state and Europe dates back to the 16th century. Despite the many differences between them, these two musical styles were combined over time, and many composers composed works that survived. Also, contemporary musicians developed many practices based on new harmonic theories. In addition, the characteristics of Turkish music were used in Western works. In particular, solo pieces for Ottoman/Turkish music instruments were composed for the polyphonic orchestra. In this article, the major pieces that were composed in this genre were analyzed, and the original characteristics of Ottoman/Turkish music instruments used in the polyphonic orchestra demonstrated. From this perspective, the aspects to be considered were specified and explained to preserve the structure of both musical styles.

MEDIA OF PERFORMANCE AND INTERSECTING IDENTITIES OF MUSIC IN ISTANBUL (İCRANIN MECRASI VE İSTANBUL'DA MÜZİĞİN KESİŞEN KİMLİKLERİ),
International Conference, Suna and İnan Kıraç Foundation Istanbul Research Institute, Istanbul, November 1-2, 2019.

This paper aims to explore the musical setting of Istanbul during the Late Ottoman period. On the basis of a range of musical activities from Sufi ceremonies to house gatherings and from performing at music halls to working at music schools, I will attempt to show the ways in which the music of the city was generated at the local level. By exploring the musical interactions between neighborhoods, my aim is to provide new perspectives on the city and music to reveal the residential as well as the performance centers of Ottoman Istanbul. Gephi, the network analysis software, will further visualize the interactions between musicians and the city.

F atih ilçesi, İstanbul'un tarihî sur içinden oluşması sebebiyle, tarihte "nefs-i İstanbul" yani İstanbul'un kendisi, merkezi olarak tanınan bölgesidir. İstanbul denince akla ilk gelen yer, eskiden sadece sur içi idi. Öyle ki bugün dahi belli bir yaşın üzerinde olan yerli halk, Fatih'te bir işi olduğu zaman, "İstanbul'a gidiyorum" diyebilmektedir. Nitekim klasik Osmanlı asırları boyunca İstanbul bugün ki Fatih'ten ibaretti. Eyüp, Galata ve Üsküdar ise "bilâd-ı

Meterhaneaua reprezintă formația muzicală cea mai importantă întâlnită la curțile domnești ale Moldovei și Țării Românești, deoarece ea este cea care face legătura – din punct de vedere artistic și politic – între aceste țări și Imperiul Otoman. Contextul în care această formație muzicală ajunge în posesia domnilor români este pus în legătură cu situația geopolitică a Țărilor Române raportată la Imperiul Otoman. Datorită influenței tot mai mari a otomanilor asupra Țărilor Române, acestea ajung să fie considerate din perspectivă otomană parte integrantă a imperiului. Ca urmare a acestui fapt, domnii români primeau domnia de la sultan, în schimbul unei sume de bani, iar aceștia îi învesteau potrivit practicii otomane, prin conferirea unei insigne, ca reprezentare a puterii politice a sultanului, printre ale cărei elemente se afla și meterhaneaua. Această formație este cea care îl însoțea pe domn în toate manifestările publice oficiale, dar și în cele particulare, asigurându-i fastul necesar, iar domnul era privit din acest punct de vedere ca un bey în ierarhia politică a Porții. Din punct de vedere artistic, în Moldova și Țara Românească, meterhaneaua avea datoria de a cânta zilnic la lăsatul serii (chindie) și de a face parada, numită „nöbet”. Muzica meterhanelei era instrumentală și vocal-instrumentală, iar repertoriul principal era format din marșuri militare și rugăciuni (gülbank), cântate în contextul războiului, iar pe timp de pace, interpreta peșrevuri, bestele și semaiuri după structura concertelor „fasıl”, specifice muzicii otomane în general.
Datorită efectului psihologic exercitat asupra dușmanilor pe câmpul de luptă și a celui moralizator asupra soldaților otomani, meterhaneaua a fost adoptată și de unele armate europene, fără a obține însă efectul scontat, din cauza nepotrivirii cu mediul străin în care activa. De asemenea, prin contactul cu Occidentul, ea ajunge să fie foarte cunoscută, iar influențe ale muzicii ei să fie preluate în creațiile lor, de compozitori celebri precum Mozart.

This paper was written to commemorate the 200th anniversary of the publication of musical treatise by Archbishop Chrysanthos of Madytos (c.1770-1846), the first work towards a ‘scientific’ treatment of Greek ecclesiastical music (1821). Chrysanthos attempted to reorganize the modal and rhythmic theory of this music, and reform the musical notation that has remained to this day. The paper deals with an aspect of Chrysanthine modal system that has not received due attention so far: the abandonment of the traditional authentic-plagal order and its substitution by a new one that does not make sense if placed outside its cultural context and historical antecedents. Chrysanthos’ main point of reference seems to be the Ottoman makam system that had already penetrated post-Byzantine chant but was now given a new momentum. Before that, Greek composers used the Byzantine modal division into four authentic (kurioi) and four plagal (plagioi), positioned a fifth apart from each other. The authentic modes were mostly ascending in terms of melodic movement, whereas the plagal were descending (though one has first to ascend in order to get down!). Otherwise, every authentic-plagal pair shared the same melodic scale (usually an octave), which they traversed according to certain melodic motifs (some common to all, others unique to every mode).

The book that focused on in this presentation, was written by Maximilian Stadler from listening of Mr. von Hussard who served as an emissary in Istanbul and he has joined to some Mevlevi rituals and memorized their music. Stadler wrote down these rituals notation including the piano parts. So the work was created. According to our research, it is the first compilation in Western notation. Hussard, the narrators of the rituals, has the Persian texts translated into German, as far as we know and he has published it with German phonetics of Persian words in the weekly magazine "Allgemeine Musikalische Zeitung". The work consists of a total of 7 booklets, each booklet contains various ritual melodies. We prefer the word "ritual melody" because the rituals in this book do not include all parts (selam). Although sometimes one encounters the title of this historically important work in Turkish literature, but no Turkish library owns a copy of it. As far as we were able to find out, a few copies are in the British Library. This gives the impression that the work was printed in limited edition.
This paper focuses on the role and importance of the compilation titled Original-Chöre der Derwische Mewlewi in ​​the literature. We will give information about the author and the content. Actually, this work is not very important for the history of Turkish music. But compared to the other Western studies on Ottoman music it has some original aspects.

Özet Makale, şiir ve musiki kavramları üzerine kurulmuştur. Her ikisinin temelinde dinî inanç yatması konusunda bazı açıklamalar yapılmıştır.Osmanlı Devleti'nin ortaya koyduğu kültür ve sanat eserlerinin temelinde din ve tasavvuf anlayışının olduğu belirtilmiş; bu anlayış, şiirlerin arka planında yer alan manevî manaların bir gerekçesi olarak düşünülmüştür. Şiirleri üzerinde inceleme yapılan Şeyh Galib'in hayatı, hocaları, aldığı eğitim ve Mevlevî oluşu hakkında bazı noktalar sunulmuş; yukarıda vurgulanan Osmanlı kültür ve sanat anlayışında yer alan din ve tasavvuf anlayışının varlığı kuvvetlendirilmek istenmiştir. Şeyh Galib Divanı'ndan seçilen musiki terimleri makalede yer alan sayıdan daha fazladır. Farklı manaları haiz olmalarına dikkat edilerek seçilmiştir. Bu sebeple bir terimin geçtiği bütün beyitlere yer verilmemiştir. Beyitlerin seçiminden sonra terimlerin kendi teknik/aslî anlamları belirtilmiş daha sonra gönderme yapılan dinî ve tasavvufî manalar izah edilmiştir. Beyitlerdeki musiki terimleri, İslam medeniyetinin bazı sembollerini, vahdeti ve kesreti; ârif, sûfi ve evliyaların hallerini; şeriat, tarikat, hakikat ve marifeti; Eflatun, Hallac-ı Mansur, Mevlana gibi bazı düşünce ve din büyüklerini temsil etmektedir. Şeyh Galib'in bütün tarikatlara ait ortak esasları, İslam kültür medeniyetinin ortak değerlerini ifade ettiği gibi sadece Mevlevîliği ilgilendiren esaslardan da bahsettiği görülmektedir. Mansûr, Meyân, Nefir, Nevâ, Pest vb terimler genel tasavvufî haller için kullanılırken " ney " ve " rebab " terimleri özellikle Mevlevîlik için kullanılmıştır. Abstract This article is built upon the terms of poetry and sufi music, and makes some remarks on the fact that both are built upon belief. It is stated that understanding of religion and sufism underlies cultural and art works produced by the Ottoman state. This view is believed to be the rationale of spiritual meanings behind poems. The article also examines Sheikh Galib's poems and highlights some important points about his life, mentors, education and being Mevlevi. Moreover, the article attempts to solidify existence of above mentioned understanding of religion and sufism of Ottoman understanding of culture and art. The number of selected musical terms from Sheikh Galib's Divan is more than cited in the article. the terms were meticulously chosen by considering their having several meanings. That is why, all the verses in which a term is once used were not used. After verseswere selected, their technical/original meanings were defined and religious and sufistic meanings they refer to were clarified. The musical terms in the verses symbolise some symbols of Islamic civilization, singularity and abundance; spiritual state of gnostic, sufi and saint or mahatmas; sharia, religious order, divine truth and mystique; some great thinkers and eminent philosophers and Islamic scholars like Plato, Hallac-ı Mansur, and Rumi. It seems that Sheikh Galib speaks of the principles which are solely related to Mevlevi order as well as that the principles which are common to all religious orders and common values of Islamic cultural civilization. Terms such as Mansûr, Meyân, Nefir, Nevâ, Pest are used for general sufistic states, while terms such as " ney " and " rebab " are used particularly for Mevleviyeh.