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Music of the 16th-century Khurasan in the 17th-century Ottoman Sources: Evidences from Darwish ʿAli Changi’s Treatise on Music

Year 2023, Issue: 27, 1 - 13, 31.05.2023
https://doi.org/10.56074/msgsusbd.1264260

Abstract

The compositions attributed to the early 15th-century music theorist and composer of Jalayirid and Timurid courts, Khwāja ʿAbd al-Qādir, in the Turkish musical repertoire, are usually considered to be a later pseudographic repertoire created with the intention of forging a link between medieval practice and the Ottoman tradition. Taking the music treatise of the late 16th-century musician from Khurāsān, Darwīsh ʿAlī Changī, into consideration, the present study sheds light on the Central Asian, Khurāsāni origins of eight such musical compositions from the 17thcentury Ottoman repertoire. The results of this study show that some of the pieces mentioned by Darwīsh ʿAlī as creations of composers such as Shah Pīladūz, Ri ā Samarqandī, Darwīsh Shādī, ʿAlī Kārmāl, Khwāja ʿAbd al-Qādir, and Sayf al-Mi r, reappear in the late 17th-century Ottoman sources, when the names of all but two of the composers (Khwāja ʿAbd al-Qādir and Sayf alMi r) had been forgotten. Thus, the survival of a 16th-century central Asian musical repertoire in 17th-century Ottoman repertoire is demonstrated.

References

  • Anonymous. (n.d.). Mecmua-yı Makamât-ı Dede Efendi [Fasıl Mecmuası]. İstanbul Üniversitesi Kütüphanesi. TY 3608.
  • Awbahī, ʿAlīshāh bin ajī būka. (1390/2012). Muqaddimat al-usūl. Bi kūshish-i Sayyid Mu ammad usaynī. Tihrān: Farhangistān-i hunar.
  • Behar, C. (2019). Aşk olmayınca meşk olmaz: Geleneksel Osmanlı/Türk müziğinde öğretim ve intikal, Genişletilmiş 7. Baskı. İstanbul: YKY.
  • Dānishpazhūh, M. (2011). Fihrist-i āthār-i kha ī dar Mūsiqī (Farsī, ʿArabī, wa-Turkī). Tihrān: Markaz-i Nashr-i Dānishgāhī.
  • Darwīsh ʿAlī Changī al-Khāqānī. (n.d.). Tu fat as-Surūr. Manuscript no. 264. Tajikistan, Markazi Merosi Khatti (Маркази мероси хаттӣ).
  • Darwīshī, Mu ammadri ā. (1390/2011). Shawqnāma: bāzkhwānī-yi ta nīf-hā-yi mansūb bi ʿAbd al-Qādir Marāghī [CD]. Tihrān: Kānūn-i parwarish-i fikrī-yi kūdakān wa-nawjawānān.
  • Darwīshī, M., & Mīrzāyī, B. (1399/2020). Az Gulistān-i ʿajam: majmūʿa-yi haft ta nīf wa-bīst pīshraw-i ʿajamī [CD]. Tihrān: Muʾassisa-yi farhangī-hunarī-yi Māhūr.
  • Dawlatshāh Samarqandī. (1382/2003). Tadhkirat ash-Shuʿarā. Bi-ihtimām wa-Ta ī -i Edward Browne. Tihrān: Intishārāt-i Asā īr.
  • Ekinci, M. U., & Korkmaz, H. (2022). Kadim musiki geleneğinin hayatta kalan örneği: Mahur Kâr. Osmanlı Araştırmaları, 60(60), pp. 61-96.
  • Elçin, Ş. (1976). Ali Ufkî, hayatı, eserleri ve Mecmua-i Saz ü Söz. İstanbul: Kültür Bakanlığı Yayınları.
  • Ezgi, S. (1933). Nazari ve ameli Türk musikisi, I. Ankara: Millî Mecmua Matbaası.
  • Ezgi, S. (1935). Nazari ve ameli Türk musikisi, II. Istanbul: Kaatçılık ve Matbaacılık Anonim Şirketi.
  • Ezgi, S. (1940). Nazari ve ameli Türk musikisi, IV. Istanbul: Hüsnitabiat Matbaası.
  • Fallahzadeh, M. (2005). Persian writing on music: A study of Persian musical literature from 1000 to 1500 AD. Sweden: Uppsala University.
  • Feldman, W. (1990). Cultural authority and authenticity in the Turkish repertoire. Asian music, 22(1), pp. 73-111.
  • Feldman, W. (1996). Music of the Ottoman Court: Makam, composition, and the early Ottoman instrumental repertoire. Berlin: VWB, Verlag für Wissenschaft und Bildung.
  • Feldman, W. (2015, July). 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 Writing the history of “Ottoman Music” (pp. 87-138). Ergon-Verlag.
  • Feldman, W. (2019). The emergence of Ottoman music and local modernity. YILLIK: Annual of Istanbul Studies, 1(1), pp. 173-179.
  • Hafiz Post. (n.d.). [Fasıl Mecmuası], Topkapı Sarayı Kütüphanesi, Revan 1724.
  • Kantemir, D. (2001). Kitâb-ı İlmü’l-Mûsikî alâ Vechi’l-Hurûfât (haz. Yalçın Tura). İstanbul: Yapı Kredi Yay.
  • Kha rāyī, B. (1383/2004). Dawr-hā-yi īqāʿī az dīdgāh-i Bināyī. Mahoor Music Quarterly, 6(22), pp. 69-75.
  • Kha rāyī, B. (1386/2007). īqāʿ dar risāla-yi Muqaddimat al-usūl, athar-i Nizām ad-Dīn ʿalīshāh b. ajī buka awbahī (qarn-i nuhum q.), Mahoor Music Quarterly, 9(36), pp. 105-120.
  • Khwājū-yi Kirmānī. (1382/2003). Dīwān-i ghazaliyyāt-i Khwājū-yi Kirmānī. Comp. amīd Mazharī. Kirmān: Khadamāt-i Farhangī-yi Kirmān.
  • Korkmaz, H. (2021). Türk musiki tarihinin kaynağı olarak güfte mecmuaları. (Unpublished Doctoral Dissertation). Istanbul Üniversitesi Sosyal Bilimler Enstitüsü, İstanbul.
  • Marāghī, ʿAbd al-Qādir. (1388/2009). Jāmiʿ al-al ān. Ed. B. Kha rāyī. Tihrān: Farhangistān-i hunar.
  • Mihandoust, A. (2021). A Tasnif Attributed to Khâje Abdolqâder Marâghi. Mahoor Music Quarterly, 24(95), pp. 89-92.
  • Mu āfiz, A. (1392/2013). ʿAjamlar: guzīda-ī az āthār-i āhangsāzān-i Īrānī-yi darbār-i ʿUthmānīyi muqārin-i dawra-yi afawī dar risālāt-i Ufkī wa-Dimitrie Cantemir. Tihrān: Muʾassisa-yi farhangī-hunarī-yi Māhūr.
  • Mu āfiz, A. (1398/2019). Nīshābūr: guzīda-ī az āhangsāzī-hā-yi mansūb bi mūsīqīdānān-i Īrānī dar risāla-yi Kawtharī (qarn-i 18-um). [CD]. Tihrān: Muʾassisa-yi farhangī-hunarī-yi Māhūr.
  • Muṭribī-yi Samarqandī. (1382/2003). Tadhkirat ash-Shuʿarā. Tihrān: Markaz-i Pazhūhishī-yi Mīrāth-i Maktūb.
  • Neubauer, E. (1997). Zur Bedeutung der Begriffe Komponist und Komposition. Zeitschrift für Geschichte der Arabisch-islamischen Wissenschaften, 11, pp. 307-363.
  • Pourjavady, A. H. (2005). The musical codex of Amir Khān Gorji (c. 1108–1697). (Doctoral Dissertation). University of California, Los Angeles.
  • Qazwīnī, . (2003). Risāla-yi ʿilm-i Mūsiqī. Edited by Āriū Rustamī. Mahoor Music Quarterly, 5(18), pp. 81-96.
  • [Shāpūr Qastamūnī]. (n.d.). Musiki Mecmuası. Süleymaniye. Bağdatlı Vehbi, Manuscript. 1002.
  • Tasbīhīzāda Amīr Chalabī. (n.d.). [Fasıl Mecmuası], Ankara Dil Tarih Coğrafya Fakültesi Kütüphanesi, Muzaffer Ozak, I-523.
  • Wright, O. (1992a). Words without songs. Routledge.
  • Wright, O. (1992b). Demetrius Cantemir: The collection of notations. Volume 1: Text. London: School of Oriental and African Studies.
  • Wright, O. (2017). Amīr Ḫān Gurjī and Safavid-Ottoman Usul Parallels. In Z. Helvacı, J. Olley, R. M. Jäger (Eds.). Rhythmic Cycles and Structures in the Art Music of the Middle East (pp. 49-68). Würzburg: Ergon Verlag Würzburg in Kommission.
  • Wright, O. (2018). Music theory in the Safavid era: The taqsīm al-naġamāt. Routledge.
  • Wright, O. (2019). Bridging the Safavid-Ottoman divide. In R. Strohm (Ed.). The Music Road: Coherence and Diversity in Music from the Mediterranean to India (pp. 168-192). Oxford University Press.
  • Yektā, R. (1318/1900). Asātidh-i Alḥān, ʿadad: 2, Khwāja ʿAbd al-Qādir Marāghī. Farīdīyya Maṭbaʿa-si.
  • Żerańska-Kominek, S. (2019). Writing the History of Unwritten Music: On the Treatise of Darwesh ‘Ali Changi (17th Century). In R. Strohm (Ed.). The Music Road: Coherence and Diversity in Music from the Mediterranean to India (pp. 148-167). Oxford University Press.

Music of the 16th-century Khurasan in the 17th-century Ottoman Sources: Evidences from Darwish ʿAli Changi’s Treatise on Music

Year 2023, Issue: 27, 1 - 13, 31.05.2023
https://doi.org/10.56074/msgsusbd.1264260

Abstract

The compositions attributed to the early 15th-century music theorist and composer of Jalayirid and Timurid courts, Khwāja ʿAbd al-Qādir, in the Turkish musical repertoire, are usually considered to be a later pseudographic repertoire created with the intention of forging a link between medieval practice and the Ottoman tradition. Taking the music treatise of the late 16th-century musician from Khurāsān, Darwīsh ʿAlī Changī, into consideration, the present study sheds light on the Central Asian, Khurāsāni origins of eight such musical compositions from the 17thcentury Ottoman repertoire. The results of this study show that some of the pieces mentioned by Darwīsh ʿAlī as creations of composers such as Shah Pīladūz, Ri ā Samarqandī, Darwīsh Shādī, ʿAlī Kārmāl, Khwāja ʿAbd al-Qādir, and Sayf al-Mi r, reappear in the late 17th-century Ottoman sources, when the names of all but two of the composers (Khwāja ʿAbd al-Qādir and Sayf alMi r) had been forgotten. Thus, the survival of a 16th-century central Asian musical repertoire in 17th-century Ottoman repertoire is demonstrated.

References

  • Anonymous. (n.d.). Mecmua-yı Makamât-ı Dede Efendi [Fasıl Mecmuası]. İstanbul Üniversitesi Kütüphanesi. TY 3608.
  • Awbahī, ʿAlīshāh bin ajī būka. (1390/2012). Muqaddimat al-usūl. Bi kūshish-i Sayyid Mu ammad usaynī. Tihrān: Farhangistān-i hunar.
  • Behar, C. (2019). Aşk olmayınca meşk olmaz: Geleneksel Osmanlı/Türk müziğinde öğretim ve intikal, Genişletilmiş 7. Baskı. İstanbul: YKY.
  • Dānishpazhūh, M. (2011). Fihrist-i āthār-i kha ī dar Mūsiqī (Farsī, ʿArabī, wa-Turkī). Tihrān: Markaz-i Nashr-i Dānishgāhī.
  • Darwīsh ʿAlī Changī al-Khāqānī. (n.d.). Tu fat as-Surūr. Manuscript no. 264. Tajikistan, Markazi Merosi Khatti (Маркази мероси хаттӣ).
  • Darwīshī, Mu ammadri ā. (1390/2011). Shawqnāma: bāzkhwānī-yi ta nīf-hā-yi mansūb bi ʿAbd al-Qādir Marāghī [CD]. Tihrān: Kānūn-i parwarish-i fikrī-yi kūdakān wa-nawjawānān.
  • Darwīshī, M., & Mīrzāyī, B. (1399/2020). Az Gulistān-i ʿajam: majmūʿa-yi haft ta nīf wa-bīst pīshraw-i ʿajamī [CD]. Tihrān: Muʾassisa-yi farhangī-hunarī-yi Māhūr.
  • Dawlatshāh Samarqandī. (1382/2003). Tadhkirat ash-Shuʿarā. Bi-ihtimām wa-Ta ī -i Edward Browne. Tihrān: Intishārāt-i Asā īr.
  • Ekinci, M. U., & Korkmaz, H. (2022). Kadim musiki geleneğinin hayatta kalan örneği: Mahur Kâr. Osmanlı Araştırmaları, 60(60), pp. 61-96.
  • Elçin, Ş. (1976). Ali Ufkî, hayatı, eserleri ve Mecmua-i Saz ü Söz. İstanbul: Kültür Bakanlığı Yayınları.
  • Ezgi, S. (1933). Nazari ve ameli Türk musikisi, I. Ankara: Millî Mecmua Matbaası.
  • Ezgi, S. (1935). Nazari ve ameli Türk musikisi, II. Istanbul: Kaatçılık ve Matbaacılık Anonim Şirketi.
  • Ezgi, S. (1940). Nazari ve ameli Türk musikisi, IV. Istanbul: Hüsnitabiat Matbaası.
  • Fallahzadeh, M. (2005). Persian writing on music: A study of Persian musical literature from 1000 to 1500 AD. Sweden: Uppsala University.
  • Feldman, W. (1990). Cultural authority and authenticity in the Turkish repertoire. Asian music, 22(1), pp. 73-111.
  • Feldman, W. (1996). Music of the Ottoman Court: Makam, composition, and the early Ottoman instrumental repertoire. Berlin: VWB, Verlag für Wissenschaft und Bildung.
  • Feldman, W. (2015, July). 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 Writing the history of “Ottoman Music” (pp. 87-138). Ergon-Verlag.
  • Feldman, W. (2019). The emergence of Ottoman music and local modernity. YILLIK: Annual of Istanbul Studies, 1(1), pp. 173-179.
  • Hafiz Post. (n.d.). [Fasıl Mecmuası], Topkapı Sarayı Kütüphanesi, Revan 1724.
  • Kantemir, D. (2001). Kitâb-ı İlmü’l-Mûsikî alâ Vechi’l-Hurûfât (haz. Yalçın Tura). İstanbul: Yapı Kredi Yay.
  • Kha rāyī, B. (1383/2004). Dawr-hā-yi īqāʿī az dīdgāh-i Bināyī. Mahoor Music Quarterly, 6(22), pp. 69-75.
  • Kha rāyī, B. (1386/2007). īqāʿ dar risāla-yi Muqaddimat al-usūl, athar-i Nizām ad-Dīn ʿalīshāh b. ajī buka awbahī (qarn-i nuhum q.), Mahoor Music Quarterly, 9(36), pp. 105-120.
  • Khwājū-yi Kirmānī. (1382/2003). Dīwān-i ghazaliyyāt-i Khwājū-yi Kirmānī. Comp. amīd Mazharī. Kirmān: Khadamāt-i Farhangī-yi Kirmān.
  • Korkmaz, H. (2021). Türk musiki tarihinin kaynağı olarak güfte mecmuaları. (Unpublished Doctoral Dissertation). Istanbul Üniversitesi Sosyal Bilimler Enstitüsü, İstanbul.
  • Marāghī, ʿAbd al-Qādir. (1388/2009). Jāmiʿ al-al ān. Ed. B. Kha rāyī. Tihrān: Farhangistān-i hunar.
  • Mihandoust, A. (2021). A Tasnif Attributed to Khâje Abdolqâder Marâghi. Mahoor Music Quarterly, 24(95), pp. 89-92.
  • Mu āfiz, A. (1392/2013). ʿAjamlar: guzīda-ī az āthār-i āhangsāzān-i Īrānī-yi darbār-i ʿUthmānīyi muqārin-i dawra-yi afawī dar risālāt-i Ufkī wa-Dimitrie Cantemir. Tihrān: Muʾassisa-yi farhangī-hunarī-yi Māhūr.
  • Mu āfiz, A. (1398/2019). Nīshābūr: guzīda-ī az āhangsāzī-hā-yi mansūb bi mūsīqīdānān-i Īrānī dar risāla-yi Kawtharī (qarn-i 18-um). [CD]. Tihrān: Muʾassisa-yi farhangī-hunarī-yi Māhūr.
  • Muṭribī-yi Samarqandī. (1382/2003). Tadhkirat ash-Shuʿarā. Tihrān: Markaz-i Pazhūhishī-yi Mīrāth-i Maktūb.
  • Neubauer, E. (1997). Zur Bedeutung der Begriffe Komponist und Komposition. Zeitschrift für Geschichte der Arabisch-islamischen Wissenschaften, 11, pp. 307-363.
  • Pourjavady, A. H. (2005). The musical codex of Amir Khān Gorji (c. 1108–1697). (Doctoral Dissertation). University of California, Los Angeles.
  • Qazwīnī, . (2003). Risāla-yi ʿilm-i Mūsiqī. Edited by Āriū Rustamī. Mahoor Music Quarterly, 5(18), pp. 81-96.
  • [Shāpūr Qastamūnī]. (n.d.). Musiki Mecmuası. Süleymaniye. Bağdatlı Vehbi, Manuscript. 1002.
  • Tasbīhīzāda Amīr Chalabī. (n.d.). [Fasıl Mecmuası], Ankara Dil Tarih Coğrafya Fakültesi Kütüphanesi, Muzaffer Ozak, I-523.
  • Wright, O. (1992a). Words without songs. Routledge.
  • Wright, O. (1992b). Demetrius Cantemir: The collection of notations. Volume 1: Text. London: School of Oriental and African Studies.
  • Wright, O. (2017). Amīr Ḫān Gurjī and Safavid-Ottoman Usul Parallels. In Z. Helvacı, J. Olley, R. M. Jäger (Eds.). Rhythmic Cycles and Structures in the Art Music of the Middle East (pp. 49-68). Würzburg: Ergon Verlag Würzburg in Kommission.
  • Wright, O. (2018). Music theory in the Safavid era: The taqsīm al-naġamāt. Routledge.
  • Wright, O. (2019). Bridging the Safavid-Ottoman divide. In R. Strohm (Ed.). The Music Road: Coherence and Diversity in Music from the Mediterranean to India (pp. 168-192). Oxford University Press.
  • Yektā, R. (1318/1900). Asātidh-i Alḥān, ʿadad: 2, Khwāja ʿAbd al-Qādir Marāghī. Farīdīyya Maṭbaʿa-si.
  • Żerańska-Kominek, S. (2019). Writing the History of Unwritten Music: On the Treatise of Darwesh ‘Ali Changi (17th Century). In R. Strohm (Ed.). The Music Road: Coherence and Diversity in Music from the Mediterranean to India (pp. 148-167). Oxford University Press.
There are 41 citations in total.

Details

Primary Language English
Journal Section Research Article
Authors

Arastoo Mihandoust 0000-0001-8203-6485

Early Pub Date May 30, 2023
Publication Date May 31, 2023
Submission Date March 13, 2023
Published in Issue Year 2023 Issue: 27

Cite

APA Mihandoust, A. (2023). Music of the 16th-century Khurasan in the 17th-century Ottoman Sources: Evidences from Darwish ʿAli Changi’s Treatise on Music. MSGSÜ Sosyal Bilimler(27), 1-13. https://doi.org/10.56074/msgsusbd.1264260