Reform Notation And Ottoman Music In Early 19th Century Istanbul

Reform, Notation and Ottoman Music in Early 19th Century Istanbul: EUTERPE presents the first complete set of transcription and edition of Euterpe (1830) from Byzantine neumatic notation into the modified staff notation used by classical Turkish music and is accompanied by a substantial examination of the related historical, theoretical and musical topics. Through a series of Ottoman/Turkish classical vocal music compositions that can be dated to the 18th and 19th centuries, Euterpe and related sources reinforce a much broader picture of musical practice and transmission in which we clearly see that the Greek and Turkish traditions are linked. Reform, Notation and Ottoman Music in Early 19th Century Istanbul is presented in two parts: historical discussion and musical analysis, and complete transcription and edition of Euterpe. This book will appeal to music scholars and university students interested in minorities, cosmopolitanism in the Middle East and Balkans, the relationship between music and national identity, musical notation, classical Ottoman/Turkish music, Byzantine music, and, most significantly, ethnomusicology.

"Reform, Notation and Ottoman music in Early 19th Century Istanbul presents the first complete set of transcription and edition of Euterpe (1830) from Byzantine neumatic notation into the modified staff notation used by classical Turkish music and is accompanied by a substantial examination of the related historical, theoretical and musical topics. Through a series of Ottoman/Turkish classical vocal music compositions that can be dated to 18th and 19th centuries, Euterpe and related sources reinforce a much broader picture of musical practice and transmission in which we clearly see that the Greek and Turkish traditions are linked. Reform, Notation and Ottoman music in Early 19th Century Istanbul is presented in two parts: historical discussion and musical analysis, and complete transcription and edition of Euterpe. This book will appeal to music scholars and university students interested in minorities, cosmopolitanism in the Middle East and Balkans, the relationship between music and national identity, musical notation, classical Ottoman/Turkish music, Byzantine music, and, most significantly, ethnomusicology"--

A study of the musical discourse among Ottoman Greek Orthodox Christians during a complicated time for them in the nineteenth and early twentieth centuries. During the late Ottoman period (1856–1922), a time of contestation about imperial policy toward minority groups, music helped the Ottoman Greeks in Istanbul define themselves as a distinct cultural group. A part of the largest non-Muslim minority within a multi-ethnic and multi-religious empire, the Greek Orthodox educated elite engaged in heated discussions about their cultural identity, Byzantine heritage, and prospects for the future, at the heart of which were debates about the place of traditional liturgical music in a community that was confronting modernity and westernization. Merih Erol draws on archival evidence from ecclesiastical and lay sources dealing with understandings of Byzantine music and history, forms of religious chanting, the life stories of individual cantors, and other popular and scholarly sources of the period. Audio examples keyed to the text are available online. “Merih Erol’s careful examination of the prominent church cantors of this period, their opinions on Byzantine, Ottoman and European musics as well as their relationship with both the Patriarchate and wealthy Greeks of Istanbul presents a detailed picture of a community trying to define their national identity during a transition. . . . Her study is unique and detailed, and her call to pluralism is timely.” —Mehmet Ali Sanlikol, author of The Musician Mehters “Overall, the book impresses me as a sophisticated work that avoids the standard nationalist views on the history of the Ottoman Greeks.” —Risto Pekka Pennanen, University of Tampere, Finland “This book is a great contribution to the fields of historical ethnomusicology, religious studies, ethnic studies, and Ottoman and Greek studies. It offers timely research during a critical period for ethnic minorities in the Middle East in general and Christians in particular as they undergo persecution and forced migration.” —Journal of the American Academy of Religion

This book explores art song as an emblem of musical modernity in early twentieth-century East Asia and Australia. It appraises the lyrical power of art song – a solo song set to a poem in the local language in Western art music style accompanied by piano – as a vehicle for creating a localized musical identity, while embracing cosmopolitan visions. The study of art song reveals both the tension and the intimacy between cosmopolitanism and local politics and culture. In 20 essays, the book includes overviews of art song development written by scholars from each of the five locales of Japan, Korea, China, Taiwan, and Australia, reflecting perspectives of both established narratives and uncharted historiography. The Art Song in East Asia and Australia, 1900 to 1950 proposes listening to the songs of our neighbours across cultural and linguistic boundaries. Recognizing the colonial constraints experienced by art song composers, it hears trans-colonial expressions addressing musical modernity, both in earlier times and now. Readers of this volume will include musicologists, ethnomusicologists, singers, musicians, and researchers concerned with modernity in the fields of poetry and history, working within local, regional, and transnational contexts.

Martin Greve: Introduction Bülent Aksoy: Preliminary Notes on the Possibility (or Impossibility) of Writing Ottoman Musical History Ralf Martin Jäger: Concepts of Western and Ottoman Music History Ruhi Ayangil: Thoughts and Suggestions on Writing Turkish Music History Ersu Pekin: Neither Dates nor Sources: A Methodological Problem in Writing the History of Ottoman Music Nilgün Dogrusöz: From Anatolian Edvâr (Musical Theory Book) Writers to Abdülbâkî Nâsir Dede: An Evaluation of the History of Ottoman/Turkish Music Theory Walter Feldman: The Musical “Renaissance” of Late Seventeenth Century Ottoman Turkey: Reflections on the Musical Materials of Ali Ufkî Bey (ca. 1610-1675), Hâfiz Post (d. 1694) and the “Marâghî” Repertoire Kyriakos Kalaitzidis: Post-Byzantine Musical Manuscripts as Sources for Oriental Secular Music: The Case of Petros Peloponnesios (1740-1778) and the Music of the Otto-man Court Gönül Paçaci: Changes in the Field of Turkish Music during the Late Ottoman/Early Republican Era Arzu Öztürkmen: The Quest for “National Music”: A Historical-Ethnographic Survey of New Approaches to Folk Music Research Okan Murat Öztürk: An Effective Means for Representing the Unity of Opposites: The Development of Ideology Concerning Folk Music in Turkey in the Context of Nationalism and Ethnic Identity Süley-man Senel: Ottoman Türkü Fikret Karakaya: Do Early Notation Collections Represent the Music of their Times? Sehvar Besiroglu: Demetrius Cantemir and the Music of his Time: The Concept of Authenticity and Types of Performance Andreas Haug: Reconstructing Western “Monophonic” Music Recep Uslu: Is an Echo of Seljuk Music Audible? A Methodological Research.

The Other Classical Musics will help both students and general readers to appreciate musical traditions mostly unfamiliar to them.

This book traces the mixing of musical forms and practices in Istanbul to illuminate multiethnic music-making and its transformations across the twentieth and twenty-first centuries. It focuses on the Jewish religious repertoire known as the Maftirim, which developed in parallel with "secular" Ottoman court music. Through memoirs, personal interviews, and new archival sources, the book explores areas often left out of those histories of the region that focus primarily on Jewish communities in isolation, political events and actors, or nationalizing narratives. Maureen Jackson foregrounds artistic interactivity, detailing the life-stories of musicians and their musical activities. Her book amply demonstrates the integration of Jewish musicians into a larger art world and traces continuities and ruptures in a nation-building era. Among its richly researched themes, the book explores the synagogue as a multifunctional venue within broader urban space; girls, women, and gender issues in an all-male performance practice; new technologies and oral transmission; and Ottoman musical reconstructions within Jewish life and cultural politics in Turkey today.