Music of the Ottoman CourtMakam, Composition and the Early Ottoman Instrumental Repertoire
Feldman, Walter(Intercultural Music Studies Vol.: 10)
* 1996
* 560 p.
* 31 fig. and ill., 20 tab., 145 musical notations, index, bibliography
* Hc
* 13,5 x 21 cm
* engl.
* EUR 44,00
* ISBN 3-86135-641-4
Between 1600 and 1750 Ottoman Turkish music developed the genres and forms that were directly antecedent to the surviving Turkish art music, yet its relationship to this modern music is shrouded in myth. This work is the first attempt to bring together contemporaneous notations, musical treatises, biographics, literary sources, travellers' accounts and iconography to present a synthetic picture of the early modern phrase of Turkish art music.Contents:-Preface
-Introduction
-Turkish Classical Music and Ottoman Music
-Ethnomusicology and History in Ottoman Turkey
-The Structuring of the Book
-The Major Sources for Ottoman Music 1550-1750
Part I Musicians and Performance
Chapter 1-1 Professionalism and the Music of the Ottoman Court
The Ottomans and the Turco-Mongol Courtly Heritage
The Emergence of Ottoman Court Music
Vocalists and Instrumentalists
The Geographical Origin of the Musicians and Location of Musical Centers
Changes in the Ruling Class and in the Organization of Music in the Palace
Unfree Musicians
The kullar
The Persians (Acemler)
The "Franks" and Other Male Slaves
The Slave-Women
Free Musicians in the Palace Service and the Bureaucracy The �ilmîye (�ulemâ)
Chapter 1-2 Professionalism and the Music of the Ottoman Court: Dervishes and Turkish Art Music
The Mevleviye
The Mevlevi Conception of Music
The Mevlevis and Ottoman Court Music
Music in the Other Sunni tarikats
Conclusion
Chapter 2 Instruments and Instrumentalists
Sources for the Instrumentation of Ottoman Music
Organ und Genre
The Ottoman Court Ensemble of the 16th Century
The kemance
The 'd
The kopuz
The ney
The ceng
The kanun
The Ottoman Ensemble from the 17th to the Mid-18th Century
The kemance/keman
The ney
The tanbur
The Origin of the Ottoman tanbur
The Ottoman tanbur in the 18th Century
The ceng
The kanun
The santur
The musikar r/miskal
Social Contexts of the Turkish Lutes
Conclusion
Chapter 3 The Ottoman Cyclical Concert-Formats Fasil und Ayin
The Structure of the Ottoman fasil
The fasl-i szende
Structure of the fasl-i sazende
The Mevlevi ayin
Part II Makam
Chapter 1 The General Scale of 17th-Century Ottoman Music
Nomenclature of Scale Degree and Mode
Cantemir's General Scale
The Problem of the Note segah
Saba, Uzzal, Beyati, Hisar
Conclusion
A Note on Symbols
Chapter 2 Makam and Terkib
Other Modal Entities
Terkib and su�be Structures
The Terkib in the 18th Century
Chapter 3 Melodic Progression
Seyir in Compositions
Cantemir's Terminology for Melodic Progression
Hizir Aga and Harutin
Chapter 4 The Taksim and Modulation
The Generic Nature and Origin of the taksim
Turkish and Persian "taksim" in Cantemir's Treatise
Modulation and the taksim Modulation and the küll-i külliyat Genre
Conclusion
Part III Pesrev and Semasi
Chapter 1 The Pesrev/Pishrow
The pesrev as Genre
Origin and Stucure of the pesrev/pishrow
Generic Variation Within the Ottoman pesrev
Chapter 2 The Ottoman pesrev
Periodization of the Turkish pesrev
Factors Leading to Change in the Formal Structure of the pesrev
Usul, Tempo, Melodic Density
Modulation and Large Scale Form
Terkib and seyir
Conclusion
Chapter 3 Pesrevs and Analyses
Period 1 (1500-1550)
The Persians (�Acemler)
Osman Pasa el-�Atik
Period 2 (1550-1600)
Period 3 (1600-1650)
Period 4 (1650-1690)
Neyzen Ali Hoca
The pesrevs of Cantemir
Muhayyer muhammes
Buselik-�Asirani berefs an
Conclusion
Chapter 4 The 17th-Century Persian Pesrev
Pesrevs and Analyses
Chapter 5 Transmission of the Ottoman Pes rev Repertoire
Transmission of the pesrev during the 17 Century: Pesrevs and Analyses
The nazire
Conclusion
Transmission of the pesrev in the 18th Century
Fonton
Kevseri
Chapter 6 The Instrumental Semasi
Sema si-i sazende in the 17th Century
Periodization of the semasi-i sazende / saz semasi
Analysis of the 17th-Century semasi Documents
Semasi-i lenk / aksak semasi
Transformation of the Old semasi
Conclusion
Chapter 7 Conclusion
The Departure of Turkey from the "Persianate" Musical Sphere
The New Ottoman Style of the 18 Century
Notes
Bibliography
Index
http://www.vwb-verlag.com/Katalog/m641.html
Kemani Tatyos Eksertzian was born in Constantinople in 1858. Of Armenian origin, he is recognized as an outstanding personality in the multi-cultural music community—made up mainly of Turks, Greeks, Armenians and Jews—which was based in the capital of the Ottoman Empire. The appellation «Kemani» means violinist, from the Persian word, keman, i.e. bow, which is used by Turks for the violin. He was taught by the famous blind violinist Kemani Sebuh. Tatyos was very well acquainted with the Hamparsum musical notation, a kind of notional script used in transcriptions before the establishment of the pentagram, with additional modulation signs for the rendition of the intervals of Eastern music. He was actively involved in urban musical events and also in those of the ottoman court, which, at that specific period, was home to Sultan Abdul Hamid II, the last Ottoman monarch. Tatyos played the violin in the so-called «sema‘i cafes» and the tavernas of Constantinople which, around the end of the nineteenth and beginning of the twentieth centuries, served as intimate settings for musical performances, both by day and night.
Tanburî Cemil Bey was the fourth and youngest son of Zihni Yâr Hanım, a slave and wet-nurse to Hayriye Hanım, the daughter of Sultan Mahmut II and Adile Sultan. Zihni Yâr Hanım married the assistant prefect of Shkodra, Mehmet Tevfik Bey, and Cemil Bey was born in Constantinople on May 9, 1871. Although he lost his father at the age of three, he completed his primary school education with the help of his uncle, Refik Bey. While at junior school, he learned French under Messrs Grégoire and Maurice. He began to play the saz at the age of ten, later taking up the violin and kanun, and later still the tanbur, which was eventually to win his heart. He learned makam theory from his elder brother, Ahmet Bey, and Western musical theory and the Hamparsum Limonciyan system from the violinist, Aleksan Efendi. A child prodigy at the age of twelve, by the age of eighteen he was already renowned as an instrumentalist of unrivalled talent. Profoundly knowledgeable of Constantinopolitan music, he was to play a decisive role in its development, and was also to devise and apply new playing methods to a wide range of musical instruments, particularly the lyra and the tanbur. He employed his knowledge of both traditional and western music to develop tanbur technique, and thus opened up new avenues for Turkish musical instruments as a whole. During a year at the School of Political Sciences, he met Aziz Mahmut Bey, a tanbur player whose father, Ali Efendi, agreed to tutor him in the same instrument. The first time Ali Efendi, a romantic composer, heard Cemil Bey play, he realized he was in the presence of a genius. When he declared that Cemil Bey played the tanbur even better than he did, word of his charismatic student’s abilities spread like wildfire through Constantinople’s musical circles. Through Ali Efendi, Cemil Bey came into contact with romantic music, under whose influence he was to remain for the rest of his life. At the same time, he acquired an outstanding technique, especially in the use of the plectrum, with a view to playing in the classical style, and was second to none at playing with the plectrum in the left hand. By playing more quietly and making less frequent use of the plectrum, he exploited the full potential of the classical tanbur, taking the instrument a stage further in its development. He also developed a new and more impressive method of playing during this period, thus establishing a new school. 17 At the age of twenty, he demonstrated his talent by playing the lyra, the lavta and the violin. It was Cemil Bey, too, who introduced the use of the bow to tanbur-playing, thereby creating what was in effect a new instrument: the yali tanbur. By 1900, his fa
me had spread throughout the Ottoman Empire. When he appeared before Sultan Abdülhamit II with his tanbur and lyra, he was rewarded with 300 gold sovereigns and the post of General Secretary in the Ministry of Foreign Affairs. A versatile composer, Cemil Bey wrote peşrevs, instrumental semâ‘îs, longas, syrta, zeybeks, and art songs. Though he composed his instrumental works within the ambits of classical music, his conception of the capabilities of his instruments was such that these works display a new and original approach. His musical pieces appear to be divinely inspired in their innovativeness and uniqueness of form, although his songs were to prove somewhat less successful. Of all the Turkish instrumental works ever written in the Şed-i ‘Arabân makam, Cemil Bey’s saz semai’s may be regarded as the best. His peşrevs and semâ‘îs has been a constant source of discussion since they were composed—indeed, now more than ever—and are frequently played both in Turkey and abroad, where they are broadcast by radio stations in Tunis, Baghdad, Cairo, Damascus and Beirut. The wide distribution of his music was assisted by the fact that it was recorded and distributed throughout the Mediterranean area on 78 rpm records, on which Cemil Bey played both taksims and his own compositions. Most of the recordings were made between 1910 and 1914 by the Blumenthal brothers on the Orfeon label. On these recordings, Cemil Bey worked with some of the most famous musicians of his time, including Nevres Bey (oud), Ibrahim Efendi (clarinet), Cemal Bey (piano) and Bülbül Salih (violin), a student of the tanbur player, Kadı Fuat.
Hüseyni Peşrev is the best known piece of Lavtacı Andon (Andon Efendi, Batrik Kriazis) whose date of born is unknown. According to some sources he died in 1915, some claim in 1925 in Istanbul. He was the brother of Lavtacı Hristo. He played oud and lute (lavta).
