Ottoman music - Knowledge

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falsely attributed to much earlier and prestigious composers — precisely at the time when the actual works by these musicians were falling into oblivion." Feldman further argues that this may have had two reasons: that the complicated forms of early Ottoman music made the older repertoire harder to consistently play without patronage of the court; or that the breakdown of transmission made it considerably more difficult for new performers to gain access to old works, creating a need for an older, more prestigious "great tradition" from which 17th century Ottoman music would emerge.

986: 652:, bridging the gap between older Persian classical works and newer Anatolian ones, created after the decline of Persian music in the 16th century. Meanwhile, other students of Osman Effendi, such as Mustafa Itri, sought out the conventions of Byzantine music, incorporating the concepts of the Orthodox tradition into his works as well as his treatises. This significantly bolstered the exchange between Byzantine and Ottoman music, and the resulting era featured a number of Greek composers, most notably 857: 891:, advocating the replacement of Ottoman tradition with a synthesis of these two traditions. The reason of this 'inferiority', according to John O'Connell, is that the multicultural, "chaotic" nature of Ottoman art music was not "high culture" by its 20th century Western conception, creating a clash where Ottoman traditions were classified by the new Westernized elite to fit the notions of a more 'primitive' music than its Western counterparts, and therefore Western music was equated with 1661:, played in locally-metrical rhythmic patterns. Performed by a single performer or a small part of the ensemble, taksims can be played in the beginning of a fasıl, or act as an interlude between two movements of a fasıl with different usuls or makams. As one of the most recognizable forms of Ottoman music, it has significantly influenced musical practice in all parts of the post-Ottoman world. However, the forms associated with taksim change drastically from one region to the next. 937:"This unsophisticated music can not feed the needs of the Turkish soul, the Turkish sensibility (...) to explore new paths. We have just heard the music of the civilized world , and the people who gave a rather anemic reaction to the murmurings known as Eastern music, immediately came to life. Turks are, indeed, naturally vivacious and high-spirited, and if these admirable characteristics were for a time not perceived, it was not their fault. 1095: 709: 1238: 971:, he would be very likely be considered mad and perhaps even locked up. It is a social necessity in this mechanizing Turkey of today to confine to the dustbin of history the opium-like music of the unlearned man. (...) In the first step in this sorting and cleansing operation for the ear, the publication and printing of songs should be strictly limited and controlled." 566: 1256:) is broadly defined as the "melodic material of the Near East, Middle East and Anatolian traditional musics." While it is one of the fundamental parts of Near and Middle Eastern music theory, its definition and classifications have been long debated by music theorists, who belonged to numerous schools of music within Near and Middle Eastern tradition. 705:. While this may or may not have been representative of the consensus among Ottoman composers at the time, it was not necessarily surprising, according to Leezenberg, as Western ideas of cultural supremacy were not widespread in Europe until the end of the 18th century, although critiques of the "confused" (microtonal) intervals of Ottoman music were. 748:, possibly the most influential musical treatise written in the Ottoman Empire, is also often hailed as a paradigm shift in the Ottoman understanding of music theory. The lack of a poetic style, as well as an empirical and practical focus, is said to set Cantemir's Edvar apart from earlier works, and would influence the treatises of later theorists. 1503:, and "function along very different principles from the short ones", according to Feldman, and while this system could describe usûl structures until the 18th century, Feldman argues that in later pieces, "the melodic gestures frequently overwhelmed the ostensible usûl structures that theoretically supported them." 929:. This meant, with the absence of state support, that neither secular nor religious Ottoman music would survive. Further action was also taken to prevent Ottoman musicians from transmitting their knowledge to newer generations, as a "complete ban" was placed on Ottoman-style music education in 1927. The next year, 598:

However, the classical age is not exclusively a period of decline for Ottoman classical music, as the first signs of a multicultural musical tradition started to appear in the Ottoman Empire. Cristaldi emphasizes that this era marked the beginning of contacts between Persian and Byzantine traditions,

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While the ban could last no more than a few years, systematic censorship of the types of Turkish music that could be played continued for at least half a century. Tekelioğlu has argued that a major reason of this censorship is the republican elites' unwavering belief in absolute truths and a unified

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A new style of Ottoman music, called the "new synthesis" by Feldman, emerged in the second half of the 17th century, is often described as a form of "local modernity" and a "musical renaissance", where the complexity of 15th century Near and Middle Eastern court music was regained and expanded upon.

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Anthologies indicate that by the 16th century, the sophisticated rhythmic cycles of 15th century Persianate music had been neglected by a large majority of the Persianate world. In fact, many 15th century works had their rhythmic cycles changed in the newer anthologies, which suggests that virtually

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musicians of the 18th and 19th centuries have also pointed out that "the Greek and Turkish modal systems resemble each other to a very high degree", and that there was a near "one-to one correspondence" in terms of most diatonic and non-diatonic structures, as well as the chords that make up the two

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Ottoman music traditions would emerge from around a half-century of persecution around the 1970s and 80s, with the condition that this music was to be nationalized and to no longer feature themes of unattainable love and sorrow, making a "more cheerful" art music than before. In the pursuit of this

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music, nor wine, (...) nor wine-glass, nor beloved. Without delay, we must give our people (...) sonic food on a universal scale. The damage already done to people's minds by drinking-house songs and worthless jazz tunes is comparable to the use of morphine and cocaine. We should not forget that in

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What followed was further radicalization of policy in the 1930s, as music magazines that claimed to resist the revolution of Turkish music were coerced to self-censor, flooded with negative coverage, and later forced to close down. This was followed by a ban of Ottoman music on radio, instituted in

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This system was not due to a lack of an understanding of written repertoire as a concept, but a lack of interest in standardization, because of a conception of music that "equalized" the roles of performer and composer. Jäger argues that the conception of a composer in the Ottoman style is vastly

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were perceived as 'vulgar'. An extensive debate followed on the merits of Ottoman classical music, where musicians of the tradition denigrated certain aspects of Ottoman music, while showing appreciation for others, indicating that support for Ottoman music had been waning, even among musicians of

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evolving drastically over the course of the empire's history, as the Ottomans' classical tradition also found its place outside of the court. By the end of the 18th century, Ottoman music had incorporated a diverse repertoire of secular and religious music of a wide variety of musicians, including

1336:. Makams also constitute a hierarchy of pitches, where the "nucleus" of the makam creates its essentials, while other pitches are "secondary" and therefore "mutable". Beken and Signell argue that most makams can be better described in terms of a "broad tonal movement", similar to the purpose of a 594:

16th century records, compared to 15th century ones, feature many more pieces attributed to composers of the 14th century and earlier. This, according to Wright, was not a natural expansion of repertoire from older composers, but rather "attests to the emergence of pseudo-graphia — spurious works

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music of the courts witnessed a gradual return to folk styles, with a particular emphasis placed on the murabba form. While many peşrevs and semais, which were tightly integrated into Ottoman society, were widely enjoyed by the upper classes, these were often simplified, with a notable absence of

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According to Tekelioğlu, Mustafa Kemal managed to blame Ottoman intellectuals for the supposed inferiority of "Eastern" music with this rhetoric, and therefore separated "Turkishness" from the "soporific, Eastern" traditions of the Ottomans. However, while the republican elite, including Mustafa

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This new synthesis had a wide range of implications for Ottoman music. While earlier Persianate music had a tendency to leave old forms and create new ones in times of societal instability, by the early 1700s, a new synthesis of Ottoman classical music had resulted in a relatively stable musical

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After the Ottoman Empire collapsed, the new republican elite tried to suppress Ottoman music further, in an attempt to hasten the process of Westernization. The decline which followed resulted in drastic changes in Ottoman music, and as the new republican elite failed to create an alternative to

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of Hızır bin Abdullah, there had not been any notable music theory treatises written in Turkish; Turkic empires relied on works written in Persian to compose their own music. Therefore, early Ottoman music was not significantly different from those of earlier Near and Middle Eastern societies;

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which all but completely abandoned the old rhythmic complexity of Ottoman classical music, replacing it with danceable, simple rhythms and embellished melodies. According to O'Connell, this newer music was also significantly influenced by Western motifs, particularly "in the realms of musical

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While the classical age of the Ottoman Empire is often viewed as an age when Ottoman hegemony over Europe had reached a peak, Tanrıkorur argues that "the evolution of the Ottoman music did not always follow a parallel to the stages of the evolution of the Empire, in terms of her political and

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A “composer” in the Ottoman context is not an “original genius”, who by himself creates anew. He is rather a person experienced in the musical tradition, who – within certain rules – through the combination of basic elements of form, rhythm and melodic models, creates a new derivation. This

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canon and a broad understanding of advanced music theory. According to Feldman, this new period in Ottoman music had led to many distinguishable features of Ottoman classical tradition, including the "sophistication of the system of rhythmic cycles", "fine distinctions in intonation" and

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19th century Ottoman elites saw Ottoman music as primitive and underdeveloped in relation to Western music, and stopped its courtly patronage. This resulted in many classical musicians being forced to work in entertainment-related contexts, and gave rise to a much simpler style, named

1193:, also exist. Despite this, instrumentation in Ottoman classical tradition shows signs of drastic change throughout the centuries. While certain instruments, like the qanun, ney, and the tambur, remained in use for the majority of the empire's history, others were less stable. 1418:

system, which allowed more modulations during pieces by providing a theoretical basis for relationships between makams. By the 19th century, this had led to the "wandering makam" phenomenon, where modulations are in periods shorter than what is necessary to "show" the makam.

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While Ottoman music does have characteristics in common with Western classical music, to which it is often compared, Ottoman music theory is largely dependent on two systems separate from that of common practice Western tradition, a system of modal melodic material called

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goal, Ottoman music, which was "the common inheritance of all the peoples who made up the Ottoman societies", was Turkified in a cultural "cleanse". Many Ottoman composers' names were Turkified to give the impression that they had converted and assimilated into

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One of the most notable composers of "new synthesis" Ottoman classical music is Kasımpaşalı Osman Effendi, whose focus, along with his students, was on reviving the tradition of complex rhythmic cycles. These new rhythmic cycles were later used by his student

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serialization, where every pitch and note length were assigned Arabic letters and numerals respectively, to create his own influential system. However, no notation system was as widespread and close to being standardized as Hampartsoum notation; developed by

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makams were uncommon until the late 18th century, and that until that point, makams were only based on basic and secondary scale degrees found in earlier Ottoman music. The shift away from this old system has been attributed to the emergence of the standard

548:; the "musical creativity taking place in the Timurid courts of Eastern Iran and Central Asia" was viewed to be of legendary status. This resulted in a variety of new musical works that were composed in the 15th century, with a loosening of the traditional 1057:

polarity", instead of an East-West one, and to define "aberrant practices with taxonomic efficiency". O'Connell further argues that arabesk served as a link to older, Ottoman-era norms, which, according to him, partly explains the preference against

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The naming conventions of the Ottoman's Empire's classical tradition are the cause of significant controversy, as naming schemes proposed by governments often place significant importance on the "nationalization" of music, resulting in contradiction.

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Secular art music and religious music were rarely intertwined in the early Ottoman Empire, however, their traditions were often closely related to each other; this resulted in the gradual introduction of Mevlevi elements to Ottoman classical music.

1351:, made by the Arel-Ezgi-Üzdilek system, which claims that makams can develop and resolve in ascending and descending fashions, this designation has faced criticism from Yöre among others, who has proposed a definition related to melodic contour. 1752:. Peşrevs, in addition to serving as preludes for long-form performances, also have a very comprehensive history in their usage as military marches, and therefore, has had a considerable influence on Western classical music. Melodically complex 2308:

Feldman, Walter (2015). "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". In Greve, Martin (ed.).

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refer to a cyclical system of rhythmic structure, and, similarly to time signatures in Western music, these act as a vehicle to the composition of music. The main difference between usûls and time signatures are that usûls also indicate

1197:, a type of harp, fell out of use in classical repertoire, and the oud had its scope significantly reduced. Some classical instruments were also replaced by folk instruments following Ottoman music's decline during the 19th century; the 1015:

therefore argues that "in this way the origin of the art was reconnected to a given nation: the Turks are its owners and the artists of other origins are its servants." The final result of this effort was a genre of music known in

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Kemal, were steadfast in their support for Western music, the general public were hesitant, even preferring Arabic stations which played a related tradition of music over that of native ones, which played Western music.

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economic dimensions." In fact, because of the sudden decline of Persian classical music which, according to Feldman, "prevented the entire musical system of the previous era to be preserved and transmitted", the largely

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traditions opposed this, and continued transferring the old style in their respective communities, official neglect made it very difficult for the system to function. Therefore, many musicians, such as Şevki Bey and

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Despite this, attempts were made to standardize certain types of notation, starting from the 15th century, when Byzantine musicians introduced their own notation to the Ottoman tradition. During the 17th century,

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structure. This phenomenon has been compared to the sense of musical progress that had been taking place in the West during the 17th and 18th century, a process that has been called “locally generated modernity.”

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Kalaitzidis, Kyriakos (2015). "Post-Byzantine Musical Manuscripts as Sources for Oriental Secular Music: The Case of Petros Peloponnesios (1740–1778) and the Music of the Ottoman Court". In Greve, Martin (ed.).

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This musical revival was largely the work of "aristocratic Muslims and Mevlevi dervish musicians", and resulted in a renewed sense of musical progress, which had broken down during the Ottomans' classical age.

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is the concept of melodic progression in Ottoman music, disputed among theorists on its characteristics and classifications, and is still an often-researched topic. While there is a popular classification of

1748:, and are rhythmically complex. They are typically made up of four hânes and one mülazime, which repeats after every hâne, and its melodic structure relies on alternating between neighboring makams in these 5195: 552:

cycle and the gradual adoption of various styles along with a court-patronized, vivid musical scene, which was referred to as the "first Ottoman romanticism" by Wittek and later, musician and musicologist

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which would later fuse to form a recognizably Ottoman style. Synagogal chants were also adapted to the makam system during this era, fueling what would later become the "new synthesis" of Ottoman music.

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notion of "civilization", in which the technologically advanced West were superior in all of their traditions, including that of music, which in turn justified the policy "for the people's sake".

899:. Many members of the republican elite also viewed Ottoman classical music as 'degenerate' – promoting sexual promiscuity, alcoholism and many other perceived ills of old Ottoman society – while 441:(European and Turkish) by the Ottoman elites. However, as the Ottoman Empire collapsed, new terms were employed for the Ottoman tradition, forming the current naming convention of Ottoman music. 1688:

started no earlier than the 17th century. Furthermore, taksims are often used to demonstrate abstract modal relationships, differences and similarities between makams. This tradition began with

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music, early histories of Ottoman classical music, called "mythologies" by Feldman, emphasize a sense of continuity, as opposed to a synthesis of different musical styles. The Ottomans, as a

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are common instrumental pieces, played after the yürük semai in a classical fasıl, with very little variation in form, as "their first 3 hânes must be composed using the usul of Aksaksemâî (

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derivation passes on to the transmitting community who continue to compose and revise coequally with the composer and adjusts his original “derivation” to ever-changing aesthetic standards.

1324:, however, Yöre has argued that most makams are modes performed in certain conventions and characteristics. Therefore, two makams might share all their notes, but might not share the same 4798: 1511:

Like most Islamicate musical traditions, the Ottomans used no standardized notation system until the 19th century. While a variety of notation systems were utilized, including Byzantine,

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to replace the native Ottoman tradition, Ottoman music remained the dominant form of music in the empire, and therefore evolved into a diverse form of art music, with forms such as the

679:'s understanding of music history, as he elucidates on multiple occasions the rapid decline and renaissance Ottoman music had experienced of the 16th and 17th century, stating that: 1521:

notation, these were used largely for archiving and theoretical purposes and read from sparsely. In fact, the Ottomans preferred a system of institutional oral transmission, called

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Owen Wright, starting from late 17th century, Ottoman music differed from its predecessors to such an extent that "if the two were juxtaposed, we would need to speak of musical

210: 1472:, despite the fact that they differ in their internal divisions. This system of internal division allows for the creation of complex usûls that can only be learned by rote, as 4858: 2671:

Huber, Jasmina (2015). "On the appropriation of Oriental music by the Sephardim in the western provinces of the Ottoman Empire". In Medić, Ivana; Tomašević, Katarina (eds.).

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had pointed out: “because these are so intricate, those who do not know the meter cannot play the songs at all, even though they were to hear that song a thousand times.”

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that have its own modal qualities. However, this term has been largely out of use since the early 18th century, and its purpose has largely been replaced by the concept of

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This meant that while the central melody and usûl would be laid down by the composer, the performer would add their personal style and accompaniment to the composition.

5134: 5126: 5162: 813:, who had previously been called "the greatest composer of the 19th century" by the Ottomans, to leave the court, spurring Ottoman music to a state of adaptation. 5116: 5108: 5060: 5032: 5027: 5203: 5055: 3209:[Makam descriptions, classifications in 15th century music manuscripts during Ottoman period and a theorist of passing period: Ladikli Mehmet Çelebi]. 1138:, or a locally-rhythmic improvisational piece. Composed pieces, however, also utilize usûl, a complex system of meters and accents, which structure the piece. 656:, Hanende Zacharia and Tanburi Angeli. Increasingly, modal structures between the two traditions began to converge as well, as manuscripts often recorded both 1971:)." Despite this, they are played with numerous embellishments, or "enjambents", that offset the usul in various ways, creating more complex time signatures. 1806:. In some versions of these pieces, every modal modulation is signaled by a pun with the makam's name, this is regarded as a poetic and pedagogical exercise. 4437: 3793: 431:

cultural norms and practices were slowly integrated into the empire. The resulting dichotomy between Western and Ottoman classical music was referred to as

452:." Walter Zev Feldman, another researcher on Middle Eastern music, has therefore claimed that a uniquely Ottoman style emerged no earlier than the 1600s. 5037: 4367: 203: 809:, were held in high esteem in the Ottoman court, while Ottoman music suffered official neglect. This caused many prominent Ottoman composers, including 4447: 2817:

Leezenberg, Michiel (2012). "The Oriental Origins of Orientalism: The Case of Dimitrie Cantemir". In Bod, Rens; Maat, Jaap; Weststeijn, Thijs (eds.).

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usûl, which does not show correspondence with neither melodic lines, nor meters. Long usûls, on the other hand, completely eschew correspondence with

4237: 1394:, change of melodic structure or progression, and change of a modal "nucleus" (the non-mutable part of a scale); all of these constitute a change in 5080: 3756: 3663: 2945:

Feldman, Walter (2017). "The Art of Melodic Extension Within and Beyond the Usul". In Helvacı, Zeynep; Olley, Jacob; Jaeger, Ralf Martin (eds.).

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made in a single makam would have been "of little aesthetic value" to the Ottomans. However, Feldman argues that the tradition of modulating in

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Usûls are often further broken down into two categories; short and long usûls. Short usûls, generally dance oriented rhythmic cycles including

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Ottoman tradition. The government had responded to these changes by reducing financial support for Ottoman music, facilitating its decline.

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with the Ottomans." Despite this, existing sources can be consulted to create a musical history with both continuity and "radical breaks".

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have been used so far, and out of these, at least 120 makams are in common use and formally defined. Rhythmically, Ottoman music uses the

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in elite circles, who had previously categorized these as 'degenerate' and 'promiscuous'. While older Ottoman-style musicians, such as

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some countries, where musical culture is not as weak as our own, jazz is forbidden in order to protect the musical taste of the people.

1024:, or Turkish art music. While many were supportive of this new style, as it achieved widespread popularity, some musicians, including 444:

The controversies fueled by these changes are often further aggravated by an uncertainty of periodization; according to researcher on

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While Hampartsoum notation has been eclipsed by modified staff notation in the Republic of Turkey, it enjoys widespread usage in the

4888: 4635: 3904: 1082:, presented a masculinity that, according to O'Connell, stressed both "swarthy machismo" and "profligate mannerisms", adopting the 3207:"Osmanlı dönemi 15. yüzyıl müzik yazmalarında makam tanımları, sınıflamaları ve bir geçiş dönemi kuramcısı: Ladikli Mehmet Çelebi" 4868: 3976: 3815: 2677:. Institute of Musicology, Serbian Academy of Sciences and Arts (SASA); Department of Fine Arts and Music SASA. pp. 58–70 . 1995:

is a general name for urban songs which have been included in classical repertoire, principally after the 19th century, when the

683:"The art of musick almost forgot, not only re-viv’d, but was rendered more perfect by Osman Effendi, a noble Constantinopolitan.” 17: 3594: 5233: 4719: 4511: 4499: 4416: 4098: 3971: 3835: 4830: 4630: 3924: 3507: 3151: 3115: 2956: 2828: 2749: 2682: 2622: 2328: 1028:, have criticized it, arguing that the songs' lyrics lacked their traditional meaning and that its melodies were 'insipid'. 793:. While Mahmud II continued the patronage of a native musical tradition, the following sultans, namely the Western-oriented 4108: 4083: 4052: 3727: 1332:, which are first broken down into families and then into individual makams, which are distinguished most clearly by their 1006:

culture, or otherwise demoted to a position of an outside influence helping the development of a Turkish music. Well-known

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The influence of Osman Effendi had effects beyond his immediate students and into well-known Eastern European intellectual

513:, the history of Ottoman classical music was deeply tied to "musical figures of the medieval Islamic civilization, such as 412:

It is known that the Ottomans did not often distinguish between different musical traditions, calling them all by the name

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ceremonies in which religious music was played; this fusion would be the driving force behind 17th century Ottoman music.

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As the courtly Ottoman tradition declined in the mid 19th century, a popular "middle-brow" style was created and called

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A taksim and gazel (mixed instrumental and vocal improvisation), in the style of 18th century composer Hânende Zacharia

297:, are a large and varied system of melodic material, defining both scales and melodic contour. In Ottoman music alone, 1533:-cluster"; the totality of the work that person has seen, taught and composed, rather than an individual work of art: 1310:, which modal entities (although not melodic direction) are derived from. This connects most makams together as basic 4022: 3939: 3929: 3773: 810: 774: 5228: 4362: 1398:. These inter-related definitions have provided ample space for the development of complex modal structures called 101: 4660: 4625: 4531: 4489: 3783: 3096: 1544: 1731:

seems to have replaced the former word when referring to vocal improvisation, sometime around the 18th century.

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According to Powers and Feldman, modulation is usually defined within Ottoman music in three different ways: as

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world, a distinctive feature of which is the usage of a modal melodic system. This system, alternatively called

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to create pieces. If said melodic material is used in its "purest" form, the resulting composition is called a

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were very influential in this process, as they, along with many other non-Muslim musicians, started to attend

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makams, in which simpler makams combine to create more complicated ones that evolve and change through time.

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A popular offshoot, influenced by 19th century Ottoman practice, formed in the 1970s, and was promptly named

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melodic contours of Ottoman singers, judged as effeminate and uncivilized by the earlier republican elite.

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empire, had assumed "an unbroken continuity from medieval Greater Iran (i.e. Herat to Istanbul)," while in

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composer. His notation system was widely used in the 19th century to transcribe Ottoman classical pieces.

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Most of the musical vocabulary that makes up Ottoman tradition is either Arabic or Persian, as until the

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While it is well established that Ottoman music is closely related to its geographical neighbors, namely

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did deviate from republican gender norms, the ones exclusively associated with the more rural strand of

5065: 4945: 4388: 3693: 2426:"Cross-Cultural Influences in Makam Theory: The Case of Greek-Orthodox Theorists in the Ottoman Empire" 603:, who is sometimes called "the father of Ottoman-Jewish music", and Shlomo Mazal Tov, compiler of the 3778: 2566: 1587: 1033: 1003: 498: 3488:

Jäger, Ralf Martin (2015). "Concepts of Western and Ottoman Music History". In Greve, Martin (ed.).

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lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble.

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no original works from the 15th were being played in their unaltered form in the 16th century. The

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Locally rhythmical and metric organisation of music phrases in free rhythm Taksim Improvisations

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Almost all classical music in the Ottoman style is performed in a long-form performance called

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respectively. A wide variety of instruments has been used in Ottoman music, which include the

91: 5090: 5047: 5019: 4352: 4067: 3862: 3269:"A Hierarchical Approach to Makam Classification of Turkish Makam Music, Using Symbolic Data" 1781: 1702:

for 'The song of the collection of makams'), features 36 modal modulations in total.

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is sometimes used to denote an equivalent to Western time signatures. For example, the usûls

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Ottoman music, the remnants of Ottoman tradition were appropriated and nationalized by the

60: 1821:. It consists of 4 to 6 hânes and one mülazime, which typically repeats after every hâne. 1202: 952:

1935. This was defended by poet and cultural figure Ercüment Behzat Lav, who argued that:

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are used to define most of them, and provides ample space for continuity and modulation.

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around the early 18th century, Ottoman music traces its roots back to the music of the

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and the latter of which described fragmentary modal entities that implied a different

587:, or an early long-form performance, had also been lost, and would be replaced by the 4739: 4581: 3934: 3503: 3470: 3374: 3354: 3288: 3249: 3218: 3187: 3147: 3111: 3066: 3024: 3004: 2952: 2904: 2884: 2824: 2791: 2745: 2711: 2678: 2653: 2618: 2410: 2390: 2324: 2239: 2177: 2165: 1689: 1571: 1473: 1337: 1142: 731: 694: 676: 632: 477: 65: 3300: 2672: 336: 4598: 4357: 4155: 3688: 3493: 3460: 3346: 3280: 3058: 2996: 2876: 2783: 2735: 2497: 2437: 2382: 2314: 2155: 2151: 2147: 2004: 272: 239: 227: 184: 3961: 3528: 3465: 3448: 2985:"Fine Art, Fine Music: Controlling Turkish Taste at the Fine Arts Academy in 1926" 2060: 801:

were enthusiastic in their support for Western classical music. Many composers of

4963: 4603: 4457: 4398: 4160: 3919: 3627:

A kâr (second movement), attributed to 15th century composer Abd-al Qadir Maraghi

3604: 3284: 2442: 2425: 2135: 1652: 918: 884: 802: 786: 719: 698: 494: 384: 380: 363: 174: 153: 122: 2820:

The Making of the Humanities: Volume II: From Early Modern to Modern Disciplines

1798:

syllables that represent certain aspects of meter in Ottoman poetry. Similar to

1628:

who is responsible for indicating usûls, and the remaining musicians are called

1179: 1067: 486: 5070: 4665: 4618: 3672: 2596: 1438: 1329: 1157: 1050: 900: 868: 798: 778: 359: 320: 314: 310: 298: 257: 127: 4917: 3631: 3626: 3621: 3616: 3414: 3062: 2880: 2838: 2818: 2740: 2344: 964: 876: 860: 856: 5222: 4981: 4853: 4526: 4340: 4011: 3998: 3966: 3956: 3951: 3574: 3498: 3474: 3358: 3292: 3253: 3222: 3191: 3070: 3008: 2888: 2795: 2772:"Kantemir and the Romanian Music in the Seventeenth and Eighteenth Centuries" 2715: 2657: 2394: 2319: 2243: 2169: 1512: 1395: 1218: 1149:

lists 18 instruments as being common in classical circles; these include the

1025: 1012: 993:, who was a mid-20th century singer of Ottoman classical music known for his 892: 727: 723: 664: 612: 428: 417: 281: 179: 148: 70: 4223: 2502: 2485: 1063: 990: 645: 541:

music with a richly developed melodic line and complex rhythmic structures.

4472: 4442: 4332: 4172: 4150: 4057: 3749: 3698: 3388: 2191: 1999:

style was created to counter the decline of Ottoman music. Urban dances or

1529:

different from that of the Western one, the former of which relates to an "

1523: 1321: 1232: 896: 794: 693:

Despite the acknowledgement of a break in the Ottomans' musical tradition,

534: 502: 484:) and musicians performing at a circumcision ceremony. Dated 1530 from the 3595:

An exhibition and concert honoring the Ottoman composer, Dimitrie Cantemir

1672:, which systematize possibilities in melodic development in these pieces. 4976: 4272: 3981: 3847: 2090:"Music in the Middle East: Attuned to a different classical – Qantara.de" 2000: 1530: 1405:

However, Feldman further argues that outside of taksims, modulations and

1151: 1127: 1046: 880: 668:

of composed pieces. A piece during this time might have been recorded as

538: 3078: 3046: 2896: 2860: 2803: 2771: 2251: 2227: 4953: 4783: 4521: 4145: 3016: 2984: 2160: 2037: 1991: 1981: 1825:

are slow vocal pieces which are composed in the "usuls of Aksak Semâî (

1608:

include various movements, which have to be ordered in a specific way:

1307: 1303: 1083: 569:

A transcription and analysis of Ottoman music using Byzantine notation.

481: 268: 3988: 3366: 3334: 2865:

Unveiled: Exploring an Eighteenth-Century Collection of Ottoman Music"

2402: 2370: 2228:"In the Time of Alaturka: Identifying Difference in Musical Discourse" 740:

notation was more common in the Ottoman Empire until the 20th century.

4516: 4289: 4216: 4199: 3993: 3636: 2787: 2674:

Beyond the East–West divide: Balkan music and its poles of attraction

2033: 1937:), and the fourth hâne is in various small usuls (mostly Yürüksemâî, 1916: 1655:

for 'division') is an instrumental, improvised movement of a

845: 841: 790: 514: 449: 375: 253: 3872: 3000: 2946: 1876:)", and are often played after a kar or beste in a classical fasıl. 1739: 1280:

makams can mostly be defined as a scale in the Western sense, while

714: 697:

asserts the supremacy of many aspects of Ottoman music over that of

367: 4315: 4047: 3761: 3350: 3268: 2386: 2029: 1299: 518: 4883: 4467: 4072: 2948:

Rhythmic Cycles and Structures in the Art Music of the Middle East

2014: 1914:), and are also played after the ağır semai in a classical fasıl. 1657: 1340:

in Western music, compounded with the general purpose of a scale.

1328:(conventional melodic progression), or vice versa. This creates a 863:, one of the main proponents for the suppression of Ottoman music. 789:

found much greater patronage in court, chiefly after the death of

708: 4462: 4232: 4206: 3887: 3882: 3641: 1693: 1224: 968: 907:

The reforms on Turkish music strengthened from 1926 onward, when

672:", noting similarities and equivalences between the two systems. 287: 4452: 2700:"Maftırım: Osmanli Müzık Kültüründe Sefarad Paralıturjık Müzığı" 1880:

are faster vocal pieces, composed in the usul of the same name (

1194: 963:

Today, if a person were to organize his life along the lines of

5152: 4734: 4211: 4194: 4042: 3047:"Reflections of a Vanished World: Mevlevi Tradition after 1925" 2602:

e le opere degli ebrei sefarditi nella musica classica ottomana

2021: 1720: 1646: 1189: 1162: 1017: 1008: 926: 917:

lodges) were closed down, as a response to the ostensibly anti-

914: 909: 872: 825: 510: 456: 158: 96: 3622:

A peşrev (prelude), by 18th century composer Dimitrie Cantemir

2371:"Intonation in Theory and Practice of Greek and Turkish Music" 1237: 4873: 3600:

SymbTr, a symbolic data collection of Ottoman classical music

3267:Ünal, Erdem; Bozkurt, Barış; Karaosmanoğlu, M. Kemal (2014). 1979:

Two main genres of semi-classical work exists, these are the

1711: 1517: 1228: 1198: 1183: 1177:

among others, although less well-known instruments, like the

1094: 1075: 1054: 736: 658: 293: 3140:

Levine, Victoria Lindsay; Bohlman, Philip V. (21 May 2015).

2565:. Abridged and translated by Savaş S Barkçin. Archived from 1536: 4228: 2345:"Professor Owen Wright | Staff | SOAS University of London" 1794:, these pieces are slow, rhythmically complex, and include 1744:

are performed after the introductory taksim in a classical

1499: 1489: 833: 544:

The Ottomans, until the 15th century, tried to imitate the

261: 2611:

and the Works of Sephardic Jews in Ottoman Classical Music

1618:

kâr(ı-natık), kârçe, beste, ağır semâi, şarkı, yürük semâi

1374:

by associating conventionalized melodic progressions with

1141:

Ottoman music is played in ensembles similar in size to a

3632:

A semaî, by 17th century composer Buhurizade Mustafa Itrî

1167: 328: 3266: 3106:. In Paetzold, Cordula; Walter, Caspar Johannes (eds.). 1209:), and the oud made its return to classical repertoire. 1098:

Description of sharps and flats in Ottoman music. Reads

883:

thinker, thought of "Eastern music" as inferior to both

821:

techniques, performance styles, and ensemble practice."

3449:"Tradition of Notation in the History of Turkish Music" 3143:

This Thing Called Music: Essays in Honor of Bruno Nettl

2704:Çukurova Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 565: 1487:, feature heavy correspondence with melodic lines and 1802:

melodically complex pieces of these types are called

1358:

exists, and refers to fragmentary phenomena inside a

260:. Developed in the palace, major Ottoman cities, and 2486:"The Emergence of Ottoman Music and Local Modernity" 2136:"Modernizing Reforms and Turkish Music in the 1930s" 3176:"Maqam in Music as a Concept, Scale and Phenomenon" 2424:Şahin, Nevin; Güray, Cenk; Aydın, Ali Fuat (2018). 895:, while Ottoman music was equated with an outmoded 252:, 'Turkish art music') is the tradition of 3335:"Ottoman Sources on the Development of the Taksîm" 1583:during the 19th century decline of Ottoman music. 607:(The book of songs, 17 hymns and songs of praise) 5220: 2823:. Amsterdam University Press. pp. 243–264. 2423: 956:"What our millions require is neither mystical 933:made his comments on the matter, stating that: 648:to fit the more folkloric, popular poetry form 5194: 2594: 627:Description and illustration of a tanbûr from 4799: 3657: 3139: 2982: 2225: 2008: 1719:. These are accompanied with the poetry form 1668:rely on codified melodic progressions called 1560:Concepts of Western and Ottoman Music History 670:"Segâh makam, usûl muhammes, echos IV legetos 423:This naming convention broke down during the 348: 342: 334: 326: 318: 247: 204: 2094:Qantara.de – Dialogue with the Islamic World 1644: 785:Starting from the turn of the 19th century, 3446: 2769: 2728: 1756:with numerous modal modulations are called 1493:meters. A notable exception to this is the 4806: 4792: 3664: 3650: 3204: 3101:: Modality and style in Turkish art music" 2816: 2553: 2133: 2019:. Example styles of this form include the 1130:"pathways" of melodic development, called 851: 629:Kitâb-ı ‘İlmü’l Mûsîkî ala Vechi’l-Hurûfat 618: 211: 197: 3637:Chronology of Turkish Music Theoreticians 3563:. 9th European Music Analysis Conference. 3497: 3464: 3453:Procedia - Social and Behavioral Sciences 2739: 2640: 2501: 2441: 2318: 2159: 1370:the former of which 'implied' the use of 1114:, and a system of rhythmic cycles called 4813: 3553: 3235: 3094: 1535: 1236: 1093: 984: 855: 768: 707: 622: 564: 472: 3332: 3044: 2944: 2940: 2938: 2936: 2934: 2617:(in Italian). Fondazione Giorgio Cini. 2483: 2307: 1974: 1767: 14: 5221: 3523: 3521: 3519: 3490:Writing the History of "Ottoman Music" 3442: 3440: 3438: 3436: 3135: 3133: 3131: 3129: 3127: 3090: 3088: 2932: 2930: 2928: 2926: 2924: 2922: 2920: 2918: 2916: 2914: 2858: 2732:Writing the History of "Ottoman Music" 2636: 2634: 2590: 2588: 2586: 2584: 2549: 2547: 2545: 2543: 2541: 2539: 2537: 2535: 2533: 2479: 2477: 2475: 2473: 2368: 2311:Writing the History of "Ottoman Music" 1574:modified an old Islamic method called 468: 267:A tradition of music that reached its 4831:List of notes in Turkish makam theory 4787: 3645: 3487: 3415:"NÎM-SAKĪL – TDV İslâm Ansiklopedisi" 3328: 3326: 3324: 3322: 3320: 3318: 3316: 3314: 3312: 3310: 3169: 3167: 3165: 3163: 3040: 3038: 3036: 3034: 2978: 2976: 2974: 2972: 2970: 2968: 2765: 2763: 2761: 2697: 2670: 2531: 2529: 2527: 2525: 2523: 2521: 2519: 2517: 2515: 2513: 2471: 2469: 2467: 2465: 2463: 2461: 2459: 2457: 2455: 2453: 2303: 2301: 2299: 2297: 2295: 2293: 2291: 2289: 2287: 2285: 2283: 2281: 2221: 2219: 2217: 2215: 2213: 2055: 2053: 1786:are vocal pieces performed after the 403: 27:Classical music of the Ottoman Empire 3211:Uluslararası İnsan Bilimleri Dergisi 3173: 2869:Journal of the Royal Asiatic Society 2279: 2277: 2275: 2273: 2271: 2269: 2267: 2265: 2263: 2261: 2134:Tekelioğlu, Orhan (1 January 2001). 2129: 2127: 2125: 2123: 2121: 2119: 2117: 2115: 2113: 2111: 2084: 2082: 871:collapsed, and was succeeded by the 781:composer of Ottoman classical music. 425:Westernization of the Ottoman Empire 3516: 3481: 3433: 3180:Zeitschrift für die Welt der Türken 3124: 3085: 2911: 2691: 2641:Cristaldi, Maria Pia Ester (2019). 2631: 2581: 1320:is most often used as a synonym of 605:Sefer shirim u-zemirot ve tishbahot 455:Numerous comparative works done by 24: 5244:Classical and art music traditions 4089:(reform and constitutional period) 3671: 3389:"ÇENBER – TDV İslâm Ansiklopedisi" 3307: 3160: 3031: 2965: 2758: 2510: 2490:YILLIK: Annual of Istanbul Studies 2450: 2417: 2210: 2192:"MÛSİKİ – TDV İslâm Ansiklopedisi" 2050: 1260:are often further classified into 1201:was replaced by the folk-oriented 1089: 579:long and complex rhythmic cycles. 25: 5270: 3977:List of Ottoman sultans' consorts 3940:Custodian of the Two Holy Mosques 3588: 3529:"FASIL – TDV İslâm Ansiklopedisi" 3108:Mikrotonalität: Praxis und Utopie 2258: 2108: 2079: 2061:"MAKAM – TDV İslâm Ansiklopedisi" 358:Until the 19th century, in which 3972:List of Ottoman sultans' mothers 1414:instrumental structure, and the 560: 44: 4053:Defterdars/Ministers of Finance 3567: 3547: 3407: 3381: 3260: 3229: 3198: 2983:O'Connell, John Morgan (2000). 2852: 2810: 2722: 2664: 2226:O'Connell, John Morgan (2005). 1041:O'Connell argues that the name 3794:Persecution of Ottoman Muslims 3339:Yearbook for Traditional Music 2989:Yearbook for Traditional Music 2375:Yearbook for Traditional Music 2362: 2337: 2184: 2152:10.1080/14683849.2001.11009175 1122:, uses some of these as named 1045:was a reiteration of an older 775:Hammamizade İsmail Dede Efendi 701:at numerous points during his 460:traditions' modal structures. 13: 1: 5234:Culture of the Ottoman Empire 3466:10.1016/j.sbspro.2015.01.1121 3273:Journal of New Music Research 2044: 1385: 1290:are constructed by attaching 591:about a hundred years later. 3285:10.1080/09298215.2013.870211 3146:. Rowman & Littlefield. 3110:. Schott. pp. 197–203. 2859:Ekinci, Mehmet Uğur (2012). 2443:10.33906/musicologist.456708 1694: 1330:very large variety of makams 7: 4238:Vassal and tributary states 3447:Karabaşoğlu, Cemal (2015). 3205:Levendoğlu, N. Oya (2011). 3095:Cholevas, Michalis (2014). 2951:. Ergon. pp. 154–176. 2770:Ghircoiasiu, Romeo (1993). 2734:. Ergon. pp. 139–150. 1723:. Originally simply called 1645: 1506: 1453:can both be transcribed as 10: 5275: 3607:Neyzen Sheet Music Archive 3554:Cholevas, Michail (2017). 2313:. Ergon. pp. 87–138. 1695:Nağme-i Külliyat-i Makamat 1426: 1222: 1216: 764: 463: 5183: 5161: 5143: 5125: 5107: 5089: 5046: 5018: 4990: 4962: 4944: 4926: 4908: 4897: 4844: 4821: 4752: 4712: 4684: 4651: 4552: 4507: 4498: 4415: 4381: 4331: 4259: 4250: 4187: 4119: 4081: 4020: 4009: 3912: 3903: 3811: 3804: 3757:Decline and modernization 3679: 3492:. Ergon. pp. 33–50. 3063:10.1163/25898566-00601004 2881:10.1017/s1356186312000259 2741:10.5771/9783956507038-139 1734: 1639: 1588:Armenian Apostolic Church 349: 343: 335: 327: 319: 309:systems, which determine 4285:Six Divisions of Cavalry 3821:Foreign Affairs Ministry 3499:10.5771/9783956507038-33 3333:Feldman, Walter (1993). 3236:Andrikos, Nikos (2020). 2484:Feldman, Walter (2019). 2320:10.5771/9783956507038-87 1859:) or Ağır Sengin Semâî ( 1809: 1705: 1595: 1212: 333:(end-blown reed flute), 115:Languages and literature 5229:Ottoman classical music 4278:Agha of the Janissaries 3925:List of Ottoman sultans 3533:TDV İslam Ansiklopedisi 3419:TDV İslam Ansiklopedisi 3393:TDV İslam Ansiklopedisi 3045:Erguner, Kudsi (2015). 2595:Ensemble Bîrûn (2016). 2503:10.53979/yillik.2019.10 2369:Zannos, Iannis (1990). 2196:TDV İslam Ansiklopedisi 2065:TDV İslam Ansiklopedisi 1429:Rhythm in Turkish music 1422: 1049:dualism "to envisage a 852:Persecution and revival 803:Western classical music 787:Western classical music 619:17th and 18th centuries 601:Israel ben Moses Najara 364:Western classical music 236:Turkish classical music 18:Turkish classical music 4836:List of Turkish makams 4480:Science and technology 3930:Roman succession claim 3242:Etnomüzikoloji Dergisi 2776:Revista de Musicología 2698:Demır, Mehtap (2017). 2009: 1715:are vocal versions of 1581:Hampartsoum Limondjian 1564: 1548: 1541:Hampartsoum Limondjian 1354:A related term called 1298:are defined as either 1246: 1106: 998: 979: 945: 864: 782: 741: 691: 636: 570: 490: 355:(zither), and others. 248: 243: 231: 4353:Dragoman of the Fleet 4068:Dragoman of the Porte 3858:Armenian Constitution 3745:Stagnation and reform 1842:), Ağır Aksak Semâî ( 1676:also heavily rely on 1632:(instrumentalist) or 1550: 1539: 1441:, and a related term 1240: 1097: 995:gender non-conforming 988: 954: 935: 923:counter-revolutionary 859: 797:and the conservative 772: 711: 681: 626: 568: 476: 5239:Middle Eastern music 4847:Turkish makam theory 4824:Turkish makam theory 4815:Turkish makam theory 4073:Outer Palace Service 3989:Inner Palace Service 3174:Yöre, Seyit (2012). 2557:(15 December 2006). 1975:Semi-classical forms 1768:Kâr, Kârçe and Beste 1624:A fasıl is led by a 446:Middle Eastern music 398:1980 military regime 299:more than 600 makams 244:Klasik Türk musıkîsi 5163:Ferahnak tetrachord 4268:Classic period army 4109:Chamber of Deputies 4084:Imperial Government 3051:Mawlana Rumi Review 2569:on 15 December 2006 2559:"The Ottoman Music" 2555:Tanrıkorur, Cinuçen 1558:Ralf Martin Jäger, 1022:Türk sanat musikisi 976:Ercüment Behzat Lav 722:) transcribed into 654:Peter Peloponnesios 546:Timurid Renaissance 469:Early Ottoman music 256:originating in the 246:, or more recently 4992:Hüseynî pentachord 4928:Buselik pentachord 3895:Translation Office 3779:2nd Constitutional 3767:1st Constitutional 3721:Sultanate of Women 2096:. 28 December 2020 1549: 1247: 1147:Çinuçen Tanrıkorur 1126:s, and prescribes 1107: 999: 889:Turkish folk music 873:Republic of Turkey 865: 830:Orthodox Christian 811:Ismail Dede Efendi 783: 742: 637: 571: 555:Çinuçen Tanrıkorur 491: 404:Naming conventions 5216: 5215: 5212: 5211: 5179: 5178: 5145:Nikriz pentachord 5127:Hüzzam tetrachord 4910:Çârgâh pentachord 4781: 4780: 4748: 4747: 4740:Star and crescent 4411: 4410: 4407: 4406: 4246: 4245: 4183: 4182: 3935:Ottoman Caliphate 3816:Foreign relations 3509:978-3-95650-703-8 3153:978-1-4422-4208-1 3117:978-3-7957-0862-7 2958:978-3-95650-172-2 2830:978-90-8964-455-8 2751:978-3-95650-703-8 2684:978-86-80639-23-9 2627:– via CORE. 2624:978-88-6163-143-4 2330:978-3-95650-703-8 1970: 1953: 1936: 1913: 1896: 1875: 1858: 1841: 1790:in the classical 1690:Dimitrie Cantemir 1572:Dimitrie Cantemir 1468:and are both "24 1338:chord progression 1268:(transposed) and 1203:classical kemençe 1143:chamber orchestra 885:Western classical 842:Tanburi Cemil Bey 732:Wojciech Bobowski 688:Dimitrie Cantemir 677:Dimitrie Cantemir 633:Dimitrie Cantemir 511:republican Turkey 249:Türk sanat müziği 221: 220: 16:(Redirected from 5266: 5192: 5191: 5109:Segah tetrachord 5091:Hicaz tetrachord 5048:Uşşak tetrachord 5020:Hicaz pentachord 4946:Kürdî pentachord 4906: 4905: 4808: 4801: 4794: 4785: 4784: 4512:Social structure 4505: 4504: 4358:Imperial Arsenal 4257: 4256: 4091: 4030: 4028:(classic period) 4023:Imperial Council 4018: 4017: 3910: 3909: 3809: 3808: 3666: 3659: 3652: 3643: 3642: 3583: 3582: 3571: 3565: 3564: 3562: 3551: 3545: 3544: 3542: 3540: 3525: 3514: 3513: 3501: 3485: 3479: 3478: 3468: 3444: 3431: 3430: 3428: 3426: 3411: 3405: 3404: 3402: 3400: 3385: 3379: 3378: 3330: 3305: 3304: 3264: 3258: 3257: 3233: 3227: 3226: 3202: 3196: 3195: 3171: 3158: 3157: 3137: 3122: 3121: 3105: 3092: 3083: 3082: 3042: 3029: 3028: 2980: 2963: 2962: 2942: 2909: 2908: 2863:Kevserî Mecmûasi 2856: 2850: 2849: 2847: 2845: 2814: 2808: 2807: 2788:10.2307/20796034 2782:(3): 1723–1728. 2767: 2756: 2755: 2743: 2726: 2720: 2719: 2695: 2689: 2688: 2668: 2662: 2661: 2647: 2638: 2629: 2628: 2616: 2592: 2579: 2578: 2576: 2574: 2563:turkmusikisi.com 2551: 2508: 2507: 2505: 2481: 2448: 2447: 2445: 2421: 2415: 2414: 2366: 2360: 2359: 2357: 2355: 2341: 2335: 2334: 2322: 2305: 2256: 2255: 2223: 2208: 2207: 2205: 2203: 2188: 2182: 2181: 2163: 2131: 2106: 2105: 2103: 2101: 2086: 2077: 2076: 2074: 2072: 2057: 2041:, among others. 2012: 1969: 1968: 1967: 1966: 1955: 1952: 1951: 1950: 1949: 1938: 1935: 1934: 1933: 1932: 1921: 1912: 1911: 1910: 1909: 1898: 1895: 1894: 1893: 1892: 1881: 1874: 1873: 1872: 1871: 1860: 1857: 1856: 1855: 1854: 1843: 1840: 1839: 1838: 1837: 1826: 1800:fihrist peşrevs, 1721:of the same name 1697: 1678:modal modulation 1650: 1562: 1545:Armenian-Ottoman 1467: 1466: 1465: 1464: 1080:İbrahim Tatlıses 977: 943: 689: 416:ultimately from 354: 353: 346: 345: 340: 339: 332: 331: 324: 323: 251: 213: 206: 199: 48: 32: 31: 21: 5274: 5273: 5269: 5268: 5267: 5265: 5264: 5263: 5254:Music of Greece 5249:Music of Turkey 5219: 5218: 5217: 5208: 5196:Saba tetrachord 5187: 5185: 5175: 5157: 5139: 5121: 5103: 5085: 5042: 5038:Zirgüleli Hicaz 5014: 4986: 4964:Rast pentachord 4958: 4940: 4922: 4901: 4899: 4893: 4846: 4840: 4823: 4817: 4812: 4782: 4777: 4744: 4708: 4680: 4647: 4548: 4537:Ottoman Turkish 4494: 4403: 4377: 4327: 4322:Modernized army 4306:Sekban-i Djedid 4242: 4179: 4134:Shaykh al-Islām 4115: 4092: 4087: 4086: 4077: 4031: 4026: 4025: 4005: 3920:Ottoman dynasty 3899: 3800: 3675: 3670: 3591: 3586: 3573: 3572: 3568: 3560: 3552: 3548: 3538: 3536: 3527: 3526: 3517: 3510: 3486: 3482: 3445: 3434: 3424: 3422: 3413: 3412: 3408: 3398: 3396: 3387: 3386: 3382: 3331: 3308: 3265: 3261: 3234: 3230: 3203: 3199: 3172: 3161: 3154: 3138: 3125: 3118: 3103: 3093: 3086: 3043: 3032: 3001:10.2307/3185245 2981: 2966: 2959: 2943: 2912: 2857: 2853: 2843: 2841: 2831: 2815: 2811: 2768: 2759: 2752: 2727: 2723: 2696: 2692: 2685: 2669: 2665: 2645: 2639: 2632: 2625: 2614: 2593: 2582: 2572: 2570: 2552: 2511: 2482: 2451: 2422: 2418: 2367: 2363: 2353: 2351: 2343: 2342: 2338: 2331: 2306: 2259: 2232:Ethnomusicology 2224: 2211: 2201: 2199: 2190: 2189: 2185: 2140:Turkish Studies 2132: 2109: 2099: 2097: 2088: 2087: 2080: 2070: 2068: 2059: 2058: 2051: 2047: 1977: 1965: 1960: 1959: 1958: 1957: 1956: 1948: 1943: 1942: 1941: 1940: 1939: 1931: 1926: 1925: 1924: 1923: 1922: 1908: 1903: 1902: 1901: 1900: 1899: 1891: 1886: 1885: 1884: 1883: 1882: 1870: 1865: 1864: 1863: 1862: 1861: 1853: 1848: 1847: 1846: 1845: 1844: 1836: 1831: 1830: 1829: 1828: 1827: 1812: 1770: 1762:Küll-i Külliyat 1758:Fihrist peşrevs 1737: 1708: 1700:Ottoman Turkish 1642: 1598: 1563: 1557: 1509: 1463: 1458: 1457: 1456: 1455: 1454: 1431: 1425: 1388: 1235: 1221: 1215: 1092: 1090:Characteristics 1037:by commentators 978: 975: 962: 944: 941: 854: 848:of the empire. 807:Donizetti Pasha 767: 690: 687: 621: 563: 471: 466: 406: 385:Sephardic music 381:Byzantine music 311:time signatures 254:classical music 217: 123:Ottoman Turkish 84:Performing arts 37: 28: 23: 22: 15: 12: 11: 5: 5272: 5262: 5261: 5256: 5251: 5246: 5241: 5236: 5231: 5214: 5213: 5210: 5209: 5207: 5206: 5200: 5198: 5189: 5186:based on their 5184:Complex Makams 5181: 5180: 5177: 5176: 5174: 5173: 5167: 5165: 5159: 5158: 5156: 5155: 5149: 5147: 5141: 5140: 5138: 5137: 5131: 5129: 5123: 5122: 5120: 5119: 5113: 5111: 5105: 5104: 5102: 5101: 5095: 5093: 5087: 5086: 5084: 5083: 5078: 5073: 5068: 5063: 5058: 5052: 5050: 5044: 5043: 5041: 5040: 5035: 5030: 5024: 5022: 5016: 5015: 5013: 5012: 5007: 5002: 4996: 4994: 4988: 4987: 4985: 4984: 4979: 4974: 4968: 4966: 4960: 4959: 4957: 4956: 4950: 4948: 4942: 4941: 4939: 4938: 4932: 4930: 4924: 4923: 4921: 4920: 4914: 4912: 4903: 4900:based on their 4895: 4894: 4892: 4891: 4886: 4881: 4876: 4871: 4866: 4861: 4856: 4850: 4848: 4842: 4841: 4839: 4838: 4833: 4827: 4825: 4819: 4818: 4811: 4810: 4803: 4796: 4788: 4779: 4778: 4776: 4775: 4768: 4761: 4753: 4750: 4749: 4746: 4745: 4743: 4742: 4737: 4732: 4727: 4722: 4716: 4714: 4710: 4709: 4707: 4706: 4701: 4696: 4690: 4688: 4682: 4681: 4679: 4678: 4673: 4668: 4663: 4657: 4655: 4649: 4648: 4646: 4645: 4640: 4639: 4638: 4633: 4623: 4622: 4621: 4616: 4606: 4601: 4596: 4595: 4594: 4589: 4584: 4579: 4571: 4570: 4569: 4558: 4556: 4550: 4549: 4547: 4546: 4541: 4540: 4539: 4529: 4524: 4519: 4514: 4508: 4502: 4496: 4495: 4493: 4492: 4487: 4482: 4477: 4476: 4475: 4470: 4465: 4460: 4455: 4445: 4440: 4435: 4434: 4433: 4428: 4421: 4419: 4413: 4412: 4409: 4408: 4405: 4404: 4402: 4401: 4396: 4391: 4385: 4383: 4379: 4378: 4376: 4375: 4370: 4365: 4360: 4355: 4350: 4349: 4348: 4337: 4335: 4329: 4328: 4326: 4325: 4318: 4313: 4308: 4303: 4301:Nizam-i Djedid 4292: 4287: 4282: 4281: 4280: 4263: 4261: 4254: 4248: 4247: 4244: 4243: 4241: 4240: 4235: 4226: 4224:Mutasarrifates 4221: 4220: 4219: 4209: 4204: 4203: 4202: 4191: 4189: 4185: 4184: 4181: 4180: 4178: 4177: 4176: 4175: 4165: 4164: 4163: 4158: 4153: 4148: 4138: 4137: 4136: 4125: 4123: 4117: 4116: 4114: 4113: 4112: 4111: 4106: 4095: 4093: 4082: 4079: 4078: 4076: 4075: 4070: 4065: 4063:Reis ül-Küttab 4060: 4055: 4050: 4045: 4040: 4034: 4032: 4021: 4015: 4007: 4006: 4004: 4003: 4002: 4001: 3999:Palace Schools 3996: 3986: 3985: 3984: 3979: 3974: 3969: 3964: 3959: 3954: 3947:Imperial Harem 3944: 3943: 3942: 3937: 3932: 3927: 3916: 3914: 3913:House of Osman 3907: 3901: 3900: 3898: 3897: 3892: 3891: 3890: 3885: 3877: 3876: 3875: 3870: 3865: 3860: 3855: 3845: 3844: 3843: 3838: 3833: 3828: 3823: 3812: 3806: 3802: 3801: 3799: 3798: 3797: 3796: 3791: 3786: 3781: 3771: 3770: 3769: 3764: 3754: 3753: 3752: 3742: 3741: 3740: 3735: 3733:Decline thesis 3728:Transformation 3725: 3724: 3723: 3713: 3712: 3711: 3709:Constantinople 3706: 3701: 3691: 3685: 3683: 3677: 3676: 3673:Ottoman Empire 3669: 3668: 3661: 3654: 3646: 3640: 3639: 3634: 3629: 3624: 3619: 3614: 3602: 3597: 3590: 3589:External links 3587: 3585: 3584: 3579:Iranica Online 3566: 3546: 3515: 3508: 3480: 3432: 3406: 3380: 3351:10.2307/768680 3306: 3279:(1): 132–146. 3259: 3248:(2): 224–243. 3228: 3217:(2): 795–815. 3213:(in Turkish). 3197: 3186:(3): 267–286. 3159: 3152: 3123: 3116: 3084: 3030: 2964: 2957: 2910: 2875:(2): 199–225. 2851: 2839:j.ctt45kdfw.15 2829: 2809: 2757: 2750: 2721: 2710:(2): 313–332. 2706:(in Turkish). 2690: 2683: 2663: 2630: 2623: 2580: 2509: 2496:(1): 173–179. 2449: 2436:(2): 115–126. 2416: 2387:10.2307/767931 2361: 2349:www.soas.ac.uk 2336: 2329: 2257: 2238:(2): 177–205. 2209: 2183: 2107: 2078: 2048: 2046: 2043: 1976: 1973: 1961: 1944: 1927: 1904: 1887: 1866: 1849: 1832: 1811: 1808: 1769: 1766: 1736: 1733: 1707: 1704: 1641: 1638: 1597: 1594: 1555: 1508: 1505: 1459: 1427:Main article: 1424: 1421: 1387: 1384: 1284:ones can not. 1264:(lit. basic), 1217:Main article: 1214: 1211: 1091: 1088: 989:The museum of 973: 939: 921:, and thereby 901:Turkish commas 879:, a prominent 869:Ottoman Empire 853: 850: 824:While many in 799:Abdul Hamid II 773:A painting of 766: 763: 724:staff notation 685: 620: 617: 562: 559: 470: 467: 465: 462: 405: 402: 360:Westernization 337:klasik kemençe 321:turkish tanbur 258:Ottoman Empire 232:Osmanlı müziği 219: 218: 216: 215: 208: 201: 193: 190: 189: 188: 187: 182: 177: 169: 168: 164: 163: 162: 161: 156: 151: 143: 142: 138: 137: 136: 135: 130: 125: 117: 116: 112: 111: 110: 109: 104: 99: 94: 86: 85: 81: 80: 79: 78: 73: 68: 63: 55: 54: 50: 49: 41: 40: 38:Ottoman Empire 36:Culture of the 26: 9: 6: 4: 3: 2: 5271: 5260: 5259:Persian music 5257: 5255: 5252: 5250: 5247: 5245: 5242: 5240: 5237: 5235: 5232: 5230: 5227: 5226: 5224: 5205: 5202: 5201: 5199: 5197: 5193: 5190: 5182: 5172: 5169: 5168: 5166: 5164: 5160: 5154: 5151: 5150: 5148: 5146: 5142: 5136: 5133: 5132: 5130: 5128: 5124: 5118: 5115: 5114: 5112: 5110: 5106: 5100: 5097: 5096: 5094: 5092: 5088: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5064: 5062: 5059: 5057: 5054: 5053: 5051: 5049: 5045: 5039: 5036: 5034: 5031: 5029: 5026: 5025: 5023: 5021: 5017: 5011: 5008: 5006: 5003: 5001: 4998: 4997: 4995: 4993: 4989: 4983: 4982:Basit Suzinak 4980: 4978: 4975: 4973: 4970: 4969: 4967: 4965: 4961: 4955: 4952: 4951: 4949: 4947: 4943: 4937: 4934: 4933: 4931: 4929: 4925: 4919: 4916: 4915: 4913: 4911: 4907: 4904: 4896: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4867: 4865: 4862: 4860: 4857: 4855: 4852: 4851: 4849: 4843: 4837: 4834: 4832: 4829: 4828: 4826: 4820: 4816: 4809: 4804: 4802: 4797: 4795: 4790: 4789: 4786: 4774: 4773: 4769: 4767: 4766: 4762: 4760: 4759: 4755: 4754: 4751: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4717: 4715: 4711: 4705: 4702: 4700: 4697: 4695: 4692: 4691: 4689: 4687: 4683: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4658: 4656: 4654: 4650: 4644: 4641: 4637: 4634: 4632: 4629: 4628: 4627: 4624: 4620: 4617: 4615: 4612: 4611: 4610: 4607: 4605: 4602: 4600: 4597: 4593: 4590: 4588: 4585: 4583: 4580: 4578: 4575: 4574: 4572: 4568: 4565: 4564: 4563: 4560: 4559: 4557: 4555: 4551: 4545: 4542: 4538: 4535: 4534: 4533: 4530: 4528: 4527:Ottoman court 4525: 4523: 4520: 4518: 4515: 4513: 4510: 4509: 4506: 4503: 4501: 4497: 4491: 4488: 4486: 4483: 4481: 4478: 4474: 4471: 4469: 4466: 4464: 4461: 4459: 4456: 4454: 4451: 4450: 4449: 4446: 4444: 4441: 4439: 4436: 4432: 4429: 4426: 4425: 4423: 4422: 4420: 4418: 4414: 4400: 4397: 4395: 4392: 4390: 4387: 4386: 4384: 4380: 4374: 4371: 4369: 4368:Naval battles 4366: 4364: 4361: 4359: 4356: 4354: 4351: 4347: 4344: 4343: 4342: 4341:Kapudan Pasha 4339: 4338: 4336: 4334: 4330: 4324: 4323: 4319: 4317: 4314: 4312: 4309: 4307: 4304: 4302: 4298: 4297: 4296:Reform period 4293: 4291: 4288: 4286: 4283: 4279: 4276: 4275: 4274: 4270: 4269: 4265: 4264: 4262: 4258: 4255: 4253: 4249: 4239: 4236: 4234: 4230: 4227: 4225: 4222: 4218: 4215: 4214: 4213: 4210: 4208: 4205: 4201: 4198: 4197: 4196: 4193: 4192: 4190: 4186: 4174: 4171: 4170: 4169: 4166: 4162: 4159: 4157: 4154: 4152: 4149: 4147: 4144: 4143: 4142: 4139: 4135: 4132: 4131: 4130: 4127: 4126: 4124: 4122: 4118: 4110: 4107: 4105: 4102: 4101: 4100: 4097: 4096: 4094: 4090: 4085: 4080: 4074: 4071: 4069: 4066: 4064: 4061: 4059: 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3653: 3648: 3647: 3644: 3638: 3635: 3633: 3630: 3628: 3625: 3623: 3620: 3618: 3615: 3613: 3612: 3609:, ordered by 3608: 3603: 3601: 3598: 3596: 3593: 3592: 3580: 3576: 3570: 3559: 3558: 3550: 3534: 3530: 3524: 3522: 3520: 3511: 3505: 3500: 3495: 3491: 3484: 3476: 3472: 3467: 3462: 3459:: 3832–3837. 3458: 3454: 3450: 3443: 3441: 3439: 3437: 3420: 3416: 3410: 3394: 3390: 3384: 3376: 3372: 3368: 3364: 3360: 3356: 3352: 3348: 3344: 3340: 3336: 3329: 3327: 3325: 3323: 3321: 3319: 3317: 3315: 3313: 3311: 3302: 3298: 3294: 3290: 3286: 3282: 3278: 3274: 3270: 3263: 3255: 3251: 3247: 3243: 3239: 3232: 3224: 3220: 3216: 3212: 3208: 3201: 3193: 3189: 3185: 3181: 3177: 3170: 3168: 3166: 3164: 3155: 3149: 3145: 3144: 3136: 3134: 3132: 3130: 3128: 3119: 3113: 3109: 3102: 3100: 3091: 3089: 3080: 3076: 3072: 3068: 3064: 3060: 3056: 3052: 3048: 3041: 3039: 3037: 3035: 3026: 3022: 3018: 3014: 3010: 3006: 3002: 2998: 2994: 2990: 2986: 2979: 2977: 2975: 2973: 2971: 2969: 2960: 2954: 2950: 2949: 2941: 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2266: 2264: 2262: 2253: 2249: 2245: 2241: 2237: 2233: 2229: 2222: 2220: 2218: 2216: 2214: 2197: 2193: 2187: 2179: 2175: 2171: 2167: 2162: 2157: 2153: 2149: 2146:(1): 93–108. 2145: 2141: 2137: 2130: 2128: 2126: 2124: 2122: 2120: 2118: 2116: 2114: 2112: 2095: 2091: 2085: 2083: 2066: 2062: 2056: 2054: 2049: 2042: 2040: 2039: 2035: 2031: 2027: 2023: 2018: 2017: 2011: 2006: 2002: 1998: 1994: 1993: 1988: 1984: 1983: 1972: 1964: 1947: 1930: 1919: 1918: 1907: 1890: 1879: 1869: 1852: 1835: 1824: 1820: 1816: 1807: 1805: 1801: 1797: 1793: 1789: 1785: 1784: 1779: 1776: 1775: 1765: 1763: 1759: 1755: 1751: 1747: 1743: 1742: 1732: 1730: 1726: 1722: 1718: 1714: 1713: 1703: 1701: 1696: 1691: 1687: 1683: 1679: 1675: 1671: 1667: 1662: 1660: 1659: 1654: 1649: 1648: 1637: 1635: 1631: 1627: 1623: 1619: 1615: 1611: 1607: 1603: 1593: 1592: 1589: 1585: 1582: 1577: 1573: 1567: 1561: 1554: 1546: 1542: 1538: 1534: 1532: 1527: 1525: 1520: 1519: 1514: 1504: 1502: 1501: 1496: 1492: 1491: 1486: 1482: 1477: 1475: 1471: 1462: 1452: 1448: 1444: 1440: 1435: 1430: 1420: 1417: 1413: 1408: 1403: 1401: 1397: 1393: 1392:transposition 1383: 1381: 1377: 1373: 1369: 1365: 1361: 1357: 1352: 1350: 1345: 1341: 1339: 1335: 1331: 1327: 1323: 1319: 1315: 1313: 1309: 1305: 1301: 1297: 1293: 1289: 1285: 1283: 1279: 1275: 1271: 1267: 1263: 1259: 1255: 1251: 1244: 1239: 1234: 1230: 1226: 1220: 1219:Turkish makam 1210: 1208: 1207:politiki lyra 1205:(also called 1204: 1200: 1196: 1192: 1191: 1186: 1185: 1181: 1176: 1175: 1170: 1169: 1164: 1160: 1159: 1154: 1153: 1148: 1144: 1139: 1137: 1133: 1129: 1125: 1121: 1117: 1113: 1105: 1101: 1096: 1087: 1085: 1081: 1077: 1073: 1069: 1065: 1061: 1056: 1052: 1048: 1044: 1040: 1036: 1035: 1029: 1027: 1023: 1019: 1014: 1013:Kudsi Erguner 1011: 1010: 1005: 1004:Turko-Islamic 996: 992: 987: 983: 972: 970: 966: 959: 953: 949: 942:Mustafa Kemal 938: 934: 932: 931:Mustafa Kemal 928: 924: 920: 916: 912: 911: 905: 902: 898: 894: 893:progressivism 890: 886: 882: 878: 874: 870: 862: 858: 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The use of 733: 729: 725: 721: 717: 716: 710: 706: 704: 700: 699:Western music 696: 684: 680: 678: 673: 671: 667: 666: 661: 660: 655: 651: 647: 641: 634: 631:, written by 630: 625: 616: 614: 610: 606: 602: 596: 592: 590: 586: 580: 577: 567: 561:Classical Age 558: 556: 551: 547: 542: 540: 536: 531: 526: 524: 520: 516: 512: 508: 504: 500: 496: 489: 488: 483: 479: 475: 461: 458: 453: 451: 447: 442: 440: 439: 435: 430: 426: 422: 419: 418:Ancient Greek 415: 410: 401: 399: 394: 388: 386: 382: 377: 373: 369: 365: 361: 356: 352: 338: 330: 322: 316: 312: 308: 304: 300: 296: 295: 290: 289: 284: 283: 278: 274: 270: 265: 263: 259: 255: 250: 245: 241: 237: 233: 229: 225: 224:Ottoman music 214: 209: 207: 202: 200: 195: 194: 192: 191: 186: 183: 181: 178: 176: 173: 172: 171: 170: 166: 165: 160: 157: 155: 152: 150: 149:Oil wrestling 147: 146: 145: 144: 140: 139: 134: 131: 129: 126: 124: 121: 120: 119: 118: 114: 113: 108: 105: 103: 100: 98: 95: 93: 90: 89: 88: 87: 83: 82: 77: 74: 72: 69: 67: 64: 62: 59: 58: 57: 56: 52: 51: 47: 43: 42: 39: 34: 33: 30: 19: 4898:Basic Makams 4814: 4770: 4765:Bibliography 4763: 4756: 4725:Coat of arms 4699:Christianity 4653:Demographics 4636:of Armenians 4586: 4577:Illumination 4562:Architecture 4443:Central bank 4394:Conscription 4320: 4311:Mansure Army 4294: 4266: 4173:Hakham Bashi 4141:Christianity 4088: 4038:Grand Vizier 4027: 3879:Civil codes 3853:Constitution 3699:Ghaza thesis 3610: 3606: 3578: 3569: 3556: 3549: 3539:18 September 3537:. 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Retrieved 2067:(in Turkish) 2064: 2036:, tavşanca, 2020: 2015: 1996: 1990: 1986: 1980: 1978: 1962: 1945: 1928: 1915: 1905: 1888: 1878:Yürük semais 1877: 1867: 1850: 1833: 1822: 1818: 1814: 1813: 1804:kar-ı natıks 1803: 1799: 1795: 1791: 1787: 1782: 1777: 1773: 1771: 1761: 1757: 1753: 1749: 1745: 1740: 1738: 1728: 1724: 1716: 1710: 1709: 1685: 1681: 1673: 1669: 1665: 1663: 1656: 1643: 1636:(vocalist). 1633: 1629: 1625: 1621: 1617: 1613: 1609: 1605: 1601: 1599: 1591: 1590:to this day. 1584: 1575: 1568: 1565: 1559: 1551: 1522: 1516: 1510: 1498: 1494: 1488: 1484: 1480: 1478: 1469: 1460: 1450: 1446: 1442: 1433: 1432: 1415: 1411: 1406: 1404: 1399: 1389: 1379: 1375: 1371: 1367: 1363: 1359: 1355: 1353: 1348: 1343: 1342: 1333: 1325: 1317: 1316: 1311: 1295: 1291: 1287: 1286: 1281: 1277: 1273: 1272:(compound). 1269: 1265: 1261: 1257: 1253: 1249: 1248: 1242: 1233:Arabic maqam 1206: 1188: 1180:yaylı tambur 1178: 1172: 1166: 1156: 1150: 1140: 1135: 1131: 1128:heterophonic 1123: 1115: 1111: 1108: 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