Izmir Hatirasi - Smyrna Recollections - Muammer Ketencoglu

Title: Izmir Hatirasi - Smyrna Recollections
Artist: Muammer Ketencoglu
Year: 2007
Production: Kalan records
Description: A collection of songs of Smyrni and the Aegean costs, from Greeks, Turks, Jews
Comments: Something very new for the discography in Turkey, unknown music, from the minorities. Except from very known Turkish musicians that participate in the Cd, there are Greek singers as well, like Stelios Berberis, Ivi Demerci and Panagiota Mihaleli.

Title tracks
1. Ucun Kuslar
2. Mendilimin Ucuna Sakiz Bagladim Sakiz
3. Hicaz Taksim
4. Esma
5. Izmir Uclemesi Sample
6. To Salvari
7. Alt`ay Oldu Ben Bu Dagi Asali
8. Hurmuz Hanim
9. Muhayyer Taksim
10. Milo Mu Ke Mandarini
11. Segah Taksim
12. Uc Kemerin Dibegi
13. Alma Miya
14. Su Izmir`den Cekirdeksiz Nar Gelir
15. To Dervisaki
16. Gokcen Efe`m
17. Yalo Yalo

Music Score - Min Orkisesai vre psefta - Dimitris Semsis

Song title: Min orkisese vre pseftra, Μην ορκίζεσαι βρε ψεύτρα, Dont swear you lier.
Written: Giorgos Petropouleas, Dimitris Semsis
Style: Smyrneiko
Versions by: Roza Eskenazi, and Katerina Papadopoulou with Estoudiantina Neas Ionias
Music score in various formats
Music score: Stelios Varveris
Files

Poietika (Şiir Sanatı Üzerine) - ΠΕΡΙ ΠΟΙΗΤΙΚΗΣ

Book title: Poietika (Şiir Sanatı Üzerine) - ΠΕΡΙ ΠΟΙΗΤΙΚΗΣ
Turkish title: Poietika (Şiir Sanatı Üzerine)
Author: Aristoteles
ISBN: 975-7298-58-1
Language: Greek - Turkish
Publisher: In Turkey Bilim ve Sanat Yayınları (www.bilimvesanat.com), 2005, translation Nazile Kalaycı
Description: Felsefede yalınlığın ve duruluğun doruk noktası; “çözümleme”nin ve “bölümleme”nin üstadı Aristoteles’in, şiir sanatının gücünü “sözün gücü”yle açığa vurduğu bir başyapıt: Poietika.Eski Yunan tragedyalarının doğasını, tarihini ve geleneksel uygulamalarını bütün bir şiirsel ardyöresiyle birlikte konu edinen Aristoteles’in Poietika’sı, çağları aşan etkisiyle günümüzün sanat ve yazın kuramlarına yol göstermeyi hâlâ sürdürüyor.Felsefece düşünmenin tarihinde ana uğraklardan biri olan bu yapıt, özgün dilinden çeviri ve Yunanca aslıyla birlikte sunuluyor.

Tό λάθος - Yanlış - Andonis Samarakis

Book title: Tό λάθος

Turkish title: Yanlış
Author: Andonis Samarakis
ISBN: 975-05-0439-9
Language: Turkish
Publisher: In Turkey İletişim Yayınları (http://www.iletisim.com.tr/), 2006, translation Ari Çokona
Description: Totaliter bir rejimin iki Gizli Servis ajanı, tutukladıkları şüpheliyi başkente sorguya götürmek için yola çıkarlar. Yolculuk başladığında, Merkez tarafından tüm detayları dikkatle hazırlanmış Plan da işlemeye başlar. Bundan böyle ajanlar resmî görevliler değil, "insan" rolüne bürünmüş birer dosttur. Başkente gitmek için feribota yetişme çabalarından kentte beraber çıktıkları gezintiye kadar her şey, şüphelinin kendini güvende hissetmesi için kurgulanmış Plan’ın parçalarıdır. Tutuklunun suçunu itiraf etmesi artık an meselesidir.Kahramanları, birbirine geçmiş çarklar arasında dâhice kurgulanmış psikolojik bir savaşla birbirlerine üstün gelmeye çalışırken; Yanlış, okuyanları Kafkavari bir kâbusa sürüklüyor. Kelimelerin artık anlamlarını yitirdiği, kavramların içinin boşaldığı günümüz dünyasını mizahi ve şiirsel bir dille yorumlayan, politikayla polisiyeyi alışılmadık bir üslup ve kurguyla birleştiren, birçok edebiyat ödülüne layık görülen sıradışı bir roman.

Two secret service agents of a totalitarian regime set out for the capital to interrogate the suspected detainee. Once the journey begins, the carefully designed plan developed by the Central Command proceeds. From now on, the agents are no longer government officials but have assumed their new roles as congenial friends on a journey. Everyday events such as catching the ferry boat and walking the city streets together are designed to reduce suspicions the detainee may have and foster trust. The detainee thus is expected to confess his crime at any moment.

As the fictional characters engage in their battle of wits in this ingeniously devised psychological war, “Mistake” pulls the reader towards a ‘Kafkaesque’ nightmare. This extraordinary, riveting, and award winning novel interprets today’s world, where words have lost meaning and concepts ring hollow, by using a humorous yet poetical style that combines both politics and detective with an unusual style.

Tsakitzis - Izmir'in kavakları

Izmir'in kavakları

Izmir'in kavakları
dökülür yaprakları
bize de derler çakıcı... yar fidan boylu
yakarız konakları

Selvim senden uzun yok
yaprağında düzüm yok
kamalı da zeybek vuruldu... yar fidan boylu
çakıcıya sözüm yok

ΤΣΑΚΙΤΖΗΣ - Roza Eskenazy version

Μες στης Σμύρνης τα βουνά
και στα κρύα τα νερά
σαν λιοντάρι τριγυρνά
- Μένα με λένε Τσακιτζή
- Γεια σου παλικάρι μου,
λιοντάρι στην καρδιά.

Κάθε μια σου τουφεκιά
είναι και παρηγοριά
- Μένα με λένε Τσακιτζή
- Γεια σου παλικάρι μου,
λιοντάρι στην καρδιά.

Τη θρησκεία δεν κοιτά
Τούρκα είσαι ή Ρωμιά
τάμα τό'χει στο Θεό
να παντρεύει ορφανά

Versions:
1. Ahilleas Poulos - Tsakitzis (78's)
2. Kostas Gantinis (Gas Gadinis) - Tsakitzis (78's) Instrumental
3. Lyceum Ellinidon - Tsakitzis
4. Mario - Tsakitzis
5. Roza Eskenazy - Tsakitzis (78's)
6. Candan Ercetin - Izmir in Kavaklari
7. Grup Ege - Izmirin Kavaklari
8. Mehmet Erenler - Izmir'in Kavaklari
9. Mehmet Odemisli - Izmir'in Kavaklari
10. Tolga Candar - Izmirin Kavaklari

Variation versions that are very close.
11. Giorgos Mouflouzelis - O psaras mesa sti xora
12. Muammer Ketencioglu - Kuyubasinda Bakir
13. Traditional Group from Lesbos - Fidanaki mou

Tracks

Tsakitzis - Çakırcalı Efe - Yaşar Kemal

Greek book title: Ο Τσάκιτζης Tsakitzıs
Turkish original title: Çakırcalı Efe
Author: Yaşar Kemal
ISBN: Greek edition 960-325-114-3, Turkish edition: 9750807243
Language: Greek, Turkish
Year: First edition 1971 (Turkey) Greece 1994
Publisher: Turkey: Yendi Baski, Greece: Agra
Greek Translation: Thomas Korovinis
Description: The life and time's of the legendary Tsakirlatzi (Çakırcalı Efe) "Robin Hood", bandit, rebel in the late times (?-1910) of the Ottoman era. The most famous rebel-bandit, of all, that lived of the Aegean cost line of Asia Minor. His revolt against the Ottoman power, his actions against the rich, made him a legend, among the peasants and the poor, who could not fight and find justice with the state, and the money holders. This made him a legendary hero. His adventures, his passions, became myths, subjects for, popular booklets, Karagiozi, theatre, cinema, in both countries of Greece and Turkey. The author includes all the stories he heard, and read, and made this novel, the gives a good aspect, of his life, the region the many fights, killings, and his final death.
Comments: A book that shows the real life of the most famous Zeybek Tsakitzi. A sharp and very intelligent bandit, who escaped many times the attacks of the drafts of the Osmali forces,
and humiliated them countless times.

Manolis Karpathios - Rum Composers

Title: Manolis Karpathios - Rum Composers - Classical Music of Constantinople - Ρωμηοί Συνθέτες, Κλασσική μουσική της Κωνσταντινούπολης
Artist: Manolis Karpathios
Year: 2009
Production: Kathreftis
Description: The first production in Greece with Greek composers of Constantinople
Musicians: Manolis Karpathios (kanun), Bakagiannis Vasilis (ney, clarinet) Gamperakis Mihalis (violin), Ferruh Yarkin (percussion), Kottos Manolis(violin), Yurdal Tokcan (ud), Stamatopoulos Alekos (percussion) Barberis Stelios (ud), Furkan Bilgi (kemence), Ali Tufekci (ney) Thodoris Kouelis (bass), Giannis Constantinidis (bass)

Title tracks:
1. Huseyni Pesrev (Nikolakis)
2. Acem Asiran Sarki (Alekos Bacanos)
3. Irak Pesrev (Papas)
4. Kurdilihicazkar Semai (Vasilakis)
5. Segah Sarki (Christos Kyriazis) Sample
6. Kurdi Pesrev (Aggelis)
7. Arazbar Pesrev (Tzortzis)
8. Saba Pesrev (Papas)

Giorgos Bacanos - To proto outi tis anatolis

Title: Giorgos Bacanos-Γιώργος Μπατζανός (1900-1977) "To proto outi tis anatolis"
Artists: Giorgos Bacanos
Year: 1997
Published: En Chordais, Traditional Crossroads
Production: En Chordais (Greece) - Traditional Crossroads (USA)
Description: Collection of rare 78's that are most taxim's

Title tracks:
1. Ussak Taqsim
2. Acemkurdi Sample
3. Muhayyer saz semai, Cemil bey
4. Huseyni taqsim
5. Rast taqsim
6. Huzzam taqsim
7. Huzzam sarki, Yorgo Bacanos
8. Segah taqsim
9. Huseyni taqsim
10. Nikriz saz semai
11. Nihavent taqsim
12. Ussak taqsim. Lyre of Istanbul Aleco Bacanos
13. Hicazkar taqsim
14. Sed Araban taqsim
15. Sed Araban saz semai, Cemil Bey
16. Rast taqsim
17. Mahur sarki. Voice Kemal Bey & Saadeddin efendi
18. Kurdillihicazkar pesrev, Tatyos Efendi

Antonios Dalgas or Diamantidis

Arnoukoi, Constantinople 1882 - Athens 1945. He started from the age of 16 playing oud in Constantinople, and at 18 he was already an established singer, singing in the cafe aman and the panigiria of the City. The nick name "Dalgkas" was issued for his excellent voice, and which he remained known. In 1922 he came to Greece, worked with many musical forms, in which he sang amanedes, songs of Asia Minor, rebetika, European, light, traditional, and as a musician he played the oud and the nine chord guitar. In 1926 he made his first recording with the “Minore mane” . He has recorded more than 430 titles, of which 89 amanedes, and has written 78 of his own compositions. Since 1934, he dealt with highly paid performances in a tavern in Koukaki Athens, leaving aside the recordings, while the last he made where in the late'30s. With the entry of the Germans in Athens in 1941 he stopped the performances and in 1945 he died.


Αντώνιος Νταλγκάς ή Διαμαντίδης
Αρνούκοϊ, Κωνσταντινούπολη 1882 - Αθήνα 1945. Άρχισε από ηλικία 16 ετών να παίζει ούτι στη Πόλη, και στα 18 του έγινε ήδη καθιερωμένος τραγουδιστής, τραγουδώντας στα καφέ αμάν και τα πανηγύρια της Πόλης. Το προσωνύμιο "Νταλγκάς" του δόθηκε για την εξαιρετική του φωνή και με το οποίο παρέμεινε γνωστός. Το 1922 ήρθε στην Ελλάδα, συνεργάστηκε με πολλά μουσικά σχήματα, στα οποία τραγουδούσε αμανέδες, μικρασιάτικα, ρεμπέτικα, ευρωπαϊκά, ελαφρά, δημοτικά, και ως μουσικός έπαιζε ούτι και εννιάχορδη κιθάρα.

Το 1926 ηχογραφεί το πρώτο του δίσκο με το "Μινόρε μανέ". Έχει ηχογραφήσει περισσότερα από 430 τραγούδια, από τα οποία είναι 89 αμανέδες ενώ έχει γράψει 78 δικές του συνθέσεις. Από το 1934, ασχολήθηκε περισσότερο με υψηλής αμοιβής εμφανίσεις, σε ταβέρνα στο Κουκάκι αφήνοντας κατά μέρος τις ηχογραφήσεις, ενώ τις τελευταίες του τις πραγματοποίησε κατά τα τέλη του '30. Με την είσοδο των Γερμανών στην Αθήνα το 1941 σταμάτησε τις εμφανίσεις του και το 1945 απεβίωσε.

Introduction files:
1. Antonios Dalgas - Manes mpestenkiar
2. Antonios Dalgas - Manes Tis Avyis
3. Grigoros Asikis - Eleni Elenara mou (Andonios Dalgas)
4. Zaharias Kassimatis - Stous Podarades (Andonios Dalgas)
5. Antonios Dalgas - Apo ligo ligo
6. Antonios Dalgas - Ego eim enos psara paidi
7. Antonios Dalgas - Karotsierhs
8. Antonios Dalgas - Manaki mou

Aşil'in Nişanlısı - Fiancee of Akhilleus - Alki Zei

Book title: Η αρραβωνιαστικιά του Αχιλλέα - Aşil'in Nişanlısı-Fiancee of Akhilleus

Author: Alki Zei

ISBN: Greek: 9789600401806 Turkish: 9789754706178

Language: Greek, Turkish

Year: 1987, First Turkish edition 1997

Publisher: Kedros Greece, Turkey: İletişim Yayınları (http://www.iletisim.com.tr/), translation Kriton Dinçmen

Description: Alki Zei, is an author, a screenwriter, an old passive resister and one of the well known independent names of the left in Greece. Eleni is a fiction character. The adventures of Alki Zei and Eleni meet in this novel, Zei's real life story, Fiancee of Akhilleus, shares the stream of the same river and interrogate an adventure lived in the left side. Life like slogans, identities of leaders, legends and taboos...
Alki Zei, yazar, senarist, tiyatrocu, eski bir direnişçi, Yunanistan solunun bağımsız isimlerinden... Eleni, roman kahramanı... Alki Zei'nin serüveniyle Eleni'nin serüveni Aşil'in Nişanlısı'nda, yani Zei'nin "yaşanmış ve romanlaşmış" hayat hikayesinde birleşiyor, aynı nehrin yatağını paylaşıyor, "sol" şeritte yaşanmış bir serüveni sorguluyor: Sloganlaşmış hayatları, lider kimliklerini, efsaneleri, tabuları...

Το Χρονικό των Δέκα Ημερών - On Günün Günlügü - Agapi Molyviati - Venezi

Book title: Το Χρονικό των Δέκα Ημερών, Αiβαλί (Κυδωνίες) 1922
Turkish title: On Günün Günlügü
Author: Agapi Molyviati - Venezi
ISBN: Greek edition 978-960-201-189-8, Turkish edition: 975-9067-05-6
Language: Greek, Turkish
Year: First edition 1978
Publisher: ELIA (www.elia.org.gr) in Turkey Albatros Kitap, 2005, translation Kostas Sarioglou
Description: The personal testimony of Agapi Molyviati - Venezi the sister of the author, Ilias Venezis, about the 10 days she lived at the arrival of the Turkish army at Ayvali in 1922, witnessing all the incidents. And the exceptional, Turkish officer Kemalletin, who rescued her.
Comments: A painful book, that should be read both by Greek and Turks, to understand the darkness of the war, and the small light in the gap, enough for the next generation to follow.

Exerpt:
I do not know whether to pray or protest loud, whether to stay loyal to that taught or deny everything ... Why do humans have so much hate to humans?
Δεν ξέρω αν πρέπει να προσευχηθείς ή να βροντοφωνάξεις τη διαμαρτυρία σου, αν πρέπει να μείνεις πιστός σε ότι διδάχτηκες ή να αρνηθείς τα πάντα... Γιατί ο άνθρωπος έχει μισήσει τόσο πολύ τον άνθρωπο;

Ι shut my ears not to hear, not to hear voices. But these were no longer there. They penetrated deep inside…
Έκλεινα τα αυτιά μου να μην ακούω, να μην ακούω φωνές. Μα αυτές δε βρίσκονταν πια εκεί. Είχαν εισχωρήσει βαθιά.

MUSICAL SCORE: samples for the music of Tanburi Cemil Bey

Tanburi Cemil Bey

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 fame 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.
His Guide to Music, which contains elements of Turkish musical theory, was published in 1901. Cemil Bey married Şerife Saide Hanım in the same year, 1901, but the marriage was to prove a dif produced one son, Mesud Cemil, who was later to follow in his father’s footsteps and become a famous musician. In addition to playing the tanbur and the cello, he also became an orchestral conductor. Cemil Bey retired into himself in the last few years of his life, and sank into melancholy. He contracted tuberculosis, eventually dying from the disease in 1916 at the age of fortyfive in Constantinople.

Necip Gülses, tanbur player
Istanbul, Spring 2004

This article is from
En Chordais (Greece)
http://www.medimuses.gr/english.html

Other sources
Wikipedia
http://en.wikipedia.org/wiki/Tanburi_Cemil_Bey
In Turkish language
http://www.turkmusikisi.com/bestekarlar/tanburicemilbey.htm
http://www.kimkimdir.gen.tr/kimkimdir.php?id=420

Most of his discography:
http://www.traditionalcrossroads.com/

Music of the Ottoman Court - Walter Feldman

Music of the Ottoman Court
Makam, 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

Ottoman Sources on the Development of the Taksim

Ottoman Sources on the Development of the Taksim
By Walter Feldman

The taksim (Arabic taqsim) is often referred to in the musicological literature of the Middle East as an instrumental “improvisation” (Nettle 1973:11). The taksim has been known as a major musical genre during the nineteenth and twentieth centuries in most of the countries of the Middle East which had been incorporated within the Ottoman Empire, especially Turkey, Syria/Palestine and Egypt. It is also significant in Tunisia, but less so in the rest of North Africa. In Iraq it became prominent only after the end of the Second World War. Earlier the taksim ahd probably been known only to and practiced by a small Ottomanized Iraqi elite. In other Arab countries, such as Morocco and Yemen, the taksim is largely a post World War II adaptation of Egyptian musical practice. In the European part of the Ottoman Empire, the taksim has also left important vestiges in the music of Greece, Bulgaria, and Macedona, and to a lesser extent Romania (Garfias 1981). Its name, and a few of its musical characteristics were known even within the instrument klezmer repertoire of East European Jews (Beregovski/Slobin 1982: 539; Feldman 1993a). The fact that current Arabian and Turkish performance practices are not identical, and were even more differentiated early in the twentieth century when the first sound recordings of taksims were made in Turkey, Syria and Egypt, has not prevented Turkish, Syrian, Lebanese and Egyptian musicians from employing the word taksim to refer to all the local sub-styles of the broader taksim genre.

In contemporary Turkey the taksim is essentially urban and shows no close affinity with rural genres. In Syria and Egypt on the other hand, the taksim seems rather more connected with non-metrical vocal genres such as the layali and mawwal which also have rural forms. Perhaps the broad diffusion of the taksim and related genres in the Levan has been the cause of its rather extensive treatment in studies of modern Arabian music. On the other hand, Turkish musicologists, such as Yekta, Ezgi, Arel or Oransay barely mention the taksim, while it is treated somewhat more extensively by Signel.

At times the entire art music or maqam system is discussed as though it were inseperable from or even equivalent to the taksim, e.g. by Touma. More recently Racy (1991) had delineated a broad generic continuum in which the taksim is one vehicle for the expression of tarab (musical rapture or ecstasy) in what he refers to as “the modern tarab style of the east-Mediterranean world and Egypt, a style that emphasizes live musical performances, gives prominence to instantaneous modal creations, and treats music as an ecstatic experience” (1991:9).

Excerpt from JSTOR article by Walter Feldman.
• Ottoman Sources on the Development of the Taksîm
• Walter Feldman
• Yearbook for Traditional Music, Vol. 25, Musical Processes in Asia and Oceania (1993), pp. 1-28 (article consists of 28 pages)
• Published by: International Council for Traditional Music
Copy of Article in JSTOR (Journal)