Music of the Ottoman Court

Makam, Composition and the Early Ottoman Instrumental Repertoire
Erscheinungsjahr 2023
ISBN: 978-90-04-53125-3
Verlag: Brill

Buch, Englisch, Band 177, 554 Seiten, Format (B × H): 220 mm x 305 mm, Gewicht: 1204 g

Reihe: Handbook of Oriental Studies. Section 1 The Near and Middle East

Between 1600 and 1750 Ottoman Turkish music differentiated itself from an older Persianate art music and developed the genres antecedent to modern Turkish art music. Based on a translation of Demetrius Cantemir’s seminal “Book of the Science of Music” from the early eighteenth century, this work is the first to bring together contemporaneous notations, musical treatises, literary sources, travellers’ accounts and iconography. These present a synthetic picture of the emergence of Ottoman composed and improvised instrumental music. A detailed comparison of items in the notated Collections of Cantemir and of Bobowski—from fifty years earlier—together with relevant treatises, reveal key aspects of modality, melodic progression and rhythmic structures.

Autoren/Hrsg.

Feldman, Walter

Fachgebiete

• Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Geschichte einzelner Länder Naher & Mittlerer Osten

Inhaltsverzeichnis

Preface to the New Edition

1 Chronologies and “Local Modernity”

2 Instrumental Music: Mehterhane and Fasil-i Sazende

Acknowledgements

List of Figures, Tables and Music Examples xxvi

The Structuring of the Book

Introduction

1 Turkish Classical Music and Ottoman Music

2 Ethnomusicology and History in Ottoman Turkey

The Major Sources for Ottoman Music 1650–1750

Part 1: Musicians and Performance

1 Professionalism and the Music of the Ottoman Court

1 The Ottomans and the Turco-Mongol Courtly Heritage

2 The Emergence of Ottoman Court Music

3 Vocalists and Instrumentalists

4 The Geographical Origin of the Musicians and Location of Musical Centers

5 Changes in the Ruling Class and in the Organization of Music in the Palace

6 Unfree Musicians

7 Free Musicians in the Palace Service and the Bureaucracy

2 Professionalism and the Music of the Ottoman Court: Dervishes and Turkish Art Music

1 The Mevleviye

2 Music in the Other Sunni tarikats

3 Conclusion

3 Instruments and Instrumentalists

1 Sources for the Instrumentation of Ottoman Music

2 Organ and Genre

3 The Ottoman Court Ensemble of the Sixteenth Century

4 The Ottoman Ensemble from the Seventeenth to the Mid-Eighteenth Century

5 Social Contexts of the Turkish Lutes

6 Conclusion

4 The Ottoman Cyclical Concert-Formats Fasil and Ayin

1 The Structure of the Ottoman Fasil

2 The Fasl-i Sazende

3 Structure of the Fasl-i Sazende

4 The Mevlevi Ayin

Part 2: Makam

5 The General Scale of Seventeenth-Century Ottoman Music

1 Nomenclature of Scale Degree and Mode

2 Cantemir’s General Scale

3 The Problem of the Note Segah

4 Saba, Uzzal, Beyati, Hisar

5 Conclusion

6 A Note on Symbols

6 Makam and Terkib

1 Other Modal Entities

2 Terkib and Sube Structures

3 The Terkib in the Eighteenth Century

7 Melodic Progression

1 Seyir in Compositions

2 Cantemir’s Terminology for Melodic Progression

3 Hizir Aga and Harutin

8 The Taksim and Modulation

1 The Generic Nature and Origin of the Taksim

2 Turkish and Persian “Taksim” in Cantemir’s Treatise

3 Modulation and the Taksim

4 Modulation and the Küll-i Külliyat Genre

5 Conclusion

Part 3: Pesrev and Semai

9 The Pesrev/Pishrow

1 The Pesrev as Genre

2 Origin and Structure of the Pesrev/Pishrow

3 Generic Variation within the Ottoman Pesrev

10 The Ottoman Pesrev

1 Periodization of the Turkish Pesrev

2 Factors Leading to Change in the Formal Structure of the Pesrev

3 Conclusion

11 Pesrevs and Analyses

1 Period I (1500–1550)

2 Period 2 (1550–1600)

3 Period 3 (1600–1650)

4 Period 4 (1650–1690)

5 Neyzen Ali Hoca

6 The Pesrevs of Cantemir

7 Muhayyer Muhammes

8 Buselik-Asirani Berefsan

9 Conclusion

12 The Seventeenth-Century Persian Pesrev

1 Pesrevs and Analyses

13 Transmission of the Ottoman Pesrev Repertoire

1 Transmission of the Pesrev during the Seventeenth Century: Pesrevs and Analyses

2 The Nazire (“Imitatio”)

3 Conclusion

4 Transmission of the Pesrev in the Eighteenth Century

14 The Instrumental Semai

1 Semai-i Sazende in the Later Seventeenth Century

2 Periodization of the Semai-i Sazende/Saz Semaisi

3 Analysis of the Seventeenth-Century Semai Documents

4 Semai-i Lenk/Aksak Semai

5 Transformation of the Old Semai

6 Conclusion

15 Conclusion

1 The Departure of Turkey from the “Persianate” Musical Sphere

2 The New Ottoman Style of the Eighteenth Century

Glossary

Figure Credits

Bibliography

Index

Über Autor(innen)

Walter Feldman, PhD (1980, Columbia University), is a leading scholar of both Ottoman Turkish and Jewish music. His most recent publications are From Rumi to the Whirling Dervishes (Edinburgh U Press, 2022) and Klezmer: Music, History and Memory (Oxford U Press, 2016).