http://www.4shared.com/file/115316251/ca678f15/haremde_nese.html
Music and music therapy history understanding of the present world, directs us to colloborate with sciences like anthropology, history, ethnotherapy, ethnomedicine, psychology, pedagogy, sociology, spirituality and parapsychology.
Curing with makam (Turkish tonality) music and treatment with these elements, which matured and established itself along with the Bakshi-Kam curing tradition and pentatonic music form which has an important place in Turkish culture and history of music and dance, has again revitalized itself in today’s medical arena. One thousand years ago in Central Asia, Farabi, Ibn-i Sina, Ebu Bekir Razi, Hasan Suuri, Hekimbasi Gevrekzade Hafiz Hasan Efendi and Hasim Bey have written works on makam music, which was developing and spreading in Horasan (Transoxiana) and Uigur Regions, and they described the relations of makams with feelings and organs of the body by classifications. While pentatonic music was continuing to develop in Turkic provinces, a different makam music based on a system of 7 notes, where one whole note was divided into 9 different sounds (komas), has contributed to our culture and art with a wealth of over 400 makams.
Ebu Bekir Razi, one of the great Muslim Turkish scholars, who lived between 834-932, in his work on the curing of melancholic patients tells us the following: “... melancholic patient must be cured through some sort of pre-occupation... melancholic patient should pursue a joyful hobby like hunting or fishing. He should get to know different kind of games. He should meet people whose character, behavior and morals he likes; and should listen to songs which are sung by beautiful voices.”
Great Turkish scholar Farabi (870-950) classifies the effects of the tonalities to the soul as follows:
Great Muslim Turkish philosopher and scholar Ibn-i Sina (Avicenna, 980-1037) defines the role music plays in medicine as follows: “... One of the most effective and best paths of curing is to increase the mental and spiritual strengths of the patient. To cope better with the illness, the patient should be encouraged, should listen to good music and should come together with people whom he loves.”
Ibn-i Sina states that, he had benefited greatly from the works of Farabi, and adds that he had learned music from him and applied it in his medicinal occupation. In his book ’Kitap’un Necat’ and ’Kitab’un Sife’ which he wrote in Arabic, 12. chapters are totally reserved for music. These chapters were translated by Baron Rodolph Dearlangar, and were named and published as ’La Musique Arap’.
In the works named ’Tadil-i Emzice’ of the ancient Turkish Doctor Shuuri, there is encompassing information about curing with music. Shuuri in his work ’Tadil-I Emzice’ states that at the different times of the day, different tonalities are effective.
According to him:
According to Shuuri, different tonalities affect the different gatherings of people:
Nine centuries before our time in the Nureddin Hospital in Damascus, which was built by Seljukian Sultan Nureddin Zengi, musical tonalities were used to cure patients.
In later times, curing with music was implemented in Amasya, Sivas, Kayseri, Manisa, Bursa, Istanbul (Fatih Kulliyesi) and Edirne hospitals. We find the following written in Evliya Chelebi’s travel chronicles: ”The late Bajezid, the benefactor; may God forgive his sins; to cure the ill, to relieve the aggrieved, to get rid of the passion of love and as a nutrition to the souls of the crazy, had arranged 10 professional singers and 10 musicians, of which 3 were only singers, 1 was a Neyzen, 1 was a violin player, 1 was a musikar (Pan flute) player, 1 was a Santur player, and 1 was an Ud player. They came 3 times a week to apply a session of music to the patients and the mad.”
According to these sources, during the execution of these passive-receptive music therapy sessions, which developed with the ripened tonalities of Turkish Art Music - which has its origin in Horasan (Transoxiana) - and Horasan Anatolian music, the patients would listen either by sitting comfortably or lying down in a resting position. In this form of curing, the aim was to relieve the patient by changing their emotional states and help them rekindle their self confidence.
Source:
Short examples from TUMATA CDs:
www.tumata.com/99ing_icerik.aspx?pageName=eng_makamlar.html
Rehavi Makamı
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).
Zeki Müren, a prominent Turkish singer, composer and actor, was famous for his compelling voice and precise articulation in his singing of both established Turkish classical music and contemporary songs.
