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An Archive of Variants - Hampartsum Notation and Variability in the Transmission of Ottoman Art Music

Year 2023, Issue: 27, 30 - 48, 31.05.2023
https://doi.org/10.56074/msgsusbd.1268824

Abstract

Especially Ottoman music culture is known to have a rich written music archive. A substantial part of the musical repertoire of Ottoman art music has been notated by various scribes in manuscripts using Hampartsum notation since its invention in the early 19th century until the 20th century. When those notebooks are compared, it is observable that they usually contain different versions of a piece of music. While there is often no explanation for these different versions, some variants are attributed to different composers or performers according to personal stylistic characteristics, while others are chronologically characterized as “old-new”. In addition, in some cases the notation was corrected by the scribe or a later hand, or notes were made about the quality of the present version. The fact that musicians educated in an oral tradition (meşk system), where repetition and imitation of the teacher are of great importance, made such evaluations during the written transmission of music cannot be considered independent from the practices of the oral tradition and provide important information about the underlying musical concepts. This study aims to examine the variability in Ottoman art music in the light of various examples selected from Hampartsum notebooks, in parallel with cultural paradigms.

References

  • Manuscripts in Hampartsum Notation
  • NE203 [TR-Iüne 203-1]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 203-1.
  • NE205 [TR-Iüne 205-3]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 205-3.
  • NE207 [TR-Iüne 207-5]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 207-5.
  • NE208 [TR-Iüne 208-6]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 208-6.
  • NE211 [TR-Iüne 211-9]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 211-9.
  • NE214 [TR-Iüne 214-12]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 214-12.
  • NE215 [TR-Iüne 215-13]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 215-13.
  • OA355 [TR-Iboa TRT.MD.d.355]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 355.
  • OA405 [TR-Iboa TRT.MD.d.405]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 405.
  • OA463 [TR-Iboa TRT.MD.d.463]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 463.
  • OA481 [TR-Iboa TRT.MD.d.481]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 481.
  • OA487 [TR-Iboa TRT.MD.d.487]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 487.
  • OA535 [TR-Iboa TRT.MD.d.535]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 535.
  • TA110 [TR-Iütae 110]. İstanbul Üniversitesi Türkiyat Araştırmaları Ensitüsü Kütüphanesi, Arel Collection. Ms. 110
  • Secondary Literature
  • Aslan, F. (2007). Âşık edebiyatı ‘Usta-Çırak Geleneği’ ile geleneksel Osmanlı Türk müziği ‘Meşk Usûlü’nün karşılaştırılması [Comparison of 'Master-Apprentice Tradition' in Âşık literature and 'Meşk Practice' in traditional Ottoman Turkish music]. 38. ICANAS Uluslararası Asya ve Kuzey Afrika Çalışmaları Kongresi, Ankara.
  • Ayas, G. (2015). Alâeddin Yavaşca ve meşk ahlakı: Yaşayan bir geleneğin sosyolojik analizi [Alâeddin Yavaşca and ethics of meşk: A sociological analysis of a living tradition]. Sosyologca, (9), pp. 77–93.
  • Baecker, D. (2012). Wozu Kultur? Berlin: Kulturverlag Kadmos.
  • Baßler, M. (2020). Die kulturpoetische Funktion des Archivs. In P.-M. Dallinger & G. Hofer (Eds.), Logiken der Sammlung: Das Archiv zwischen Strategie und Eigendynamik (pp. 27–39). Berlin, Boston: De Gruyter.
  • Behar, C. (1998). Aşk olmayınca meşk olmaz [When there is no love, there is no love]. İstanbul: Yapı Kredi Yayınları.
  • Beşiroğlu, Ş. (1997, Mayıs). Türk musikisinde üslup ve tavır açısından Meşk [Meşk in terms of style and attitude in Turkish music] (pp. 136–142). Türk Müziğinde Eğitim Sempozyumu içinde. 4. İstanbul Türk Müziği Günleri.
  • Dimitriou, M. (2020). Codex TR-Iüne 215-13: Nādīde ṭaḳımlar ʿatīḳ [Preprint edition]. Münster: Corpus Musicae Ottomanicae. https://corpus-musicae-ottomanicae.de/receive/cmo_mods_00000300
  • Dural, S. (2019). Bir ilişkisel üretim süreci olarak müzikal yaratım; Abdülbâkî Nâsır Dede ve Hüseyin Sadettin Arel örneği [musical creation as a interrelational production process; The case of Abdülbâkî Nâsır Dede and Hüseyin Sadettin Arel] (Unpublished Doctoral Dissertation). İTÜ, Sosyal Bilimler Enstitüsü, İstanbul.
  • Eggebrecht, H. H. (1998). Was ist Notenschrift? In H. Danuser & T. Plebuch (Eds.), Musik als Text: Bericht über den Internationalen Kongreß der Gesellschaft für Musikforschung Freiburg im Breisgau 1993 (vol. 1, pp. 75–77). Kassel: Bärenreiter Verlag.
  • Ekinci, M. U. (2012). The Kevserî Mecmûasi unveiled: Exploring an eighteenth-century collection of Ottoman music. Journal of the Royal Asiatic Society, no. 2 (22), pp. 199–225.
  • Ergur, A. & Doğrusöz, N. (2015). Resistance and adoption towards written music at the crossroads of modernity: Gradual passage to notation in Turkish Makam music, International Review of the Aesthetics and Sociology of Music, no.1 (46).
  • Ezgi, S. (1933–53). Nazarî ve amelî Türk musikisi. 5 vols. İstanbul: Millî Mecmua Matbaası.
  • Feldman, W. (1990–1991). Cultural authority and authenticity in the Turkish repertoire. Asian Music, no. 1 (22), pp. 73–111.
  • Gerçek, İ. H. (2008). Geleneksel Türk sanat müziğinde Meşk sisteminden notalı eğitim sistemine geçişle ilgili bazı düşünceler [Some thoughts on the transition from the Meşk system to the education system with notation in traditional Turkish srt music]. A.Ü. Türkiyat Araştırmaları Enstitüsü Dergisi, (38), pp.151–158.
  • Hâşim Bey (2016). 19. yüzyıl Türk musikisinde Hâşim Bey mecmuası. Birinci bölüm: Edvâr [Hâşim Bey mecmuası in 19th century Turkish music: Part one: Edvâr]. Edited and translated by Gökhan Yalçın. Ankara: Atatürk Kültür Merkezi.
  • Haug, J. I. (2019). Mündlich tradierte Musik, schriftliche Fixierung und kulturelle Rückkopplungen. In S. Freitag, M. Geierhos, R. Asmani & J. I. Haug (Eds.). Unschärfe – Der Umgang mit fehlender Eindeutigkeit (pp. 71–91). Leiden, The Netherlands: Brill | Schöningh. doi: https://doi.org/10.30965/9783657788965
  • Haug, J. I. (2021). Güfte mecmuaları, eser kavramı ve notasız aktarım. In Fikret Karakaya (Ed.), Osmanlı-Türk müziğine bakışlar: Tarih, teori ve icra [lyric anthologies, The concept of composition and transmission without notation. perspectives on Ottoman-Turkish music: History, theory and performance] (pp. 189-203). İstanbul: Arkeoloji ve Sanat Yayınları.
  • Jäger, R. M. (1996). Türkische Kunstmusik und ihre handschriftlichen Quellen aus dem 19. Jahrhundert. Eisenach: Verlag der Musikalienhandlung Karl Dieter Wagner.
  • Jäger, R. M. (2016). Concepts of western and Ottoman music history. In M. Greve (Ed.). Writing the history of “Ottoman Music” (pp. 33–50). Würzburg: Ergon-Verlag.
  • Kantemiroğlu (2001). Kitābu ‘İlmi’l-Mūsīḳī ‘alā vechi’l-Ḥurūfāt/Mûsikîyi Harflerle Tesbît ve İcrâ İlminin Kitabı [The Book on the Science of Reading and Performing Music with Letters]. Edited and translated by Yalçın Tura (vol. 2). Istanbul: Yapı Kredi Yayınları.
  • Kēltzanidēs, P. G. (1881). Methodikē didaskalia theōretikē te kai praktikē pros ekmathēsin kai diadosin tou gnēsiou exōterikou melous tēs kath’ ēmas ellēnikēs mousikēs kat’ antiparathesin pros tēn Aravopersikēn. Istanbul: Ek tou Typographeiou A. Koromela kai Yiou.
  • Kevserî (2016). Kevserî mecmuası: 18. Yüzyıl saz müziği külliyatı [Kevserî Mecmuası: 18th century instrumental music corpus]. Edited by M. U. Ekinci. Istanbul: Pan Yayıncılık.
  • Olley, J. (2017a). Writing music in nineteenth-century Istanbul: Ottoman Armenians and the invention of Hampartsum notation (Unpublished Doctoral Dissertation). London: King’s College London.
  • Olley, J. (2017b). Rhythmic augmentation and the transformation of the Ottoman Peşrev, 18th – 19th Centuries. In Z. Helvacı, J. Olley & R. M. Jäger (Eds.), Rhythmic cycles and structures in the art music of the Middle East (pp. 179–188). Würzburg: Ergon-Verlag.
  • Olley, J. (2018). Towards a new theory of historical change in the Ottoman instrumental repertoire. In R. Harris & M. Stokes (Eds.), Theory and practice in the music of the Islamic world: Essays in honour of Owen Wright(pp. 22–41). Aldershot: Ashgate.
  • Olley, J. (2020). Codex TR-Iüne 203-1. Peşrevs and Saz Semâîsis Notated by Hampartsum Limonciyan (1768– 1839): Commentary (vol. 2). Münster: Corpus Musicae Ottomanicae. Retrieved March 5, 2023, from https:// corpus-musicae-ottomanicae.de/receive/cmo_mods_00000413
  • Pelen, S. (2022). Codex TR-Iüne 214-12: Peşrevs and Saz Semâîsis: Transcription and Commentary. (2 vols.) [Preprint edition]. Münster: Corpus Musicae Ottomanicae. Retrieved March 5, 2023, from https:// corpus-musicae-ottomanicae.de/receive/cmo_mods_00000415
  • Popescu-Judetz, E. (2007). A summary catalogue of the Turkish makams. Istanbul: Pan Yayıncılık.
  • Öztuna, Y. (2006). Türk Mûsikîsi / Akademik Klasik Türk San'at Mûsikîsi'nin Ansiklopedik Sözlüğü [Turkish Music / Academic Encyclopedic Dictionary of Classical Turkish Art Music] (edt. Ahmet Nezihi Turan), 2 vols. Ankara: Orient Yayınları.
  • Uslu, R. (2020). Güfte mecmualarinda ‘Bu müzik eseri kimin?’ problemive müzikolojik bir metot önerisi [The problem of 'Whose is this musical composition' in Lyric anthologies? and a musicological method suggestion]. Yegâh Mûsikî Dergisi, III (2) pp. 137–153.
  • Zeybek, Ö. (2013). Türk Makâm Müziği’nde üslûp-tavır görüşleri doğrultusunda Münir Nurettin Selçuk, Alâeddin Yavaşça ve Bekir Sıdkı Sezgin crâlarının analizi [Analysis of the performances of Münir Nurettin Selçuk, Alaeddin Yavaşça and Bekir Sıdkı Sezgin in line with their views on the concept of style in Turkish Makam Music] (Unpublished Master's Thesis). İTÜ, Sosyal Bilimler Enstitüsü: İstanbul.

An Archive of Variants - Hampartsum Notation and Variability in the Transmission of Ottoman Art Music

Year 2023, Issue: 27, 30 - 48, 31.05.2023
https://doi.org/10.56074/msgsusbd.1268824

Abstract

Especially Ottoman music culture is known to have a rich written music archive. A substantial part of the musical repertoire of Ottoman art music has been notated by various scribes in manuscripts using Hampartsum notation since its invention in the early 19th century until the 20th century. When those notebooks are compared, it is observable that they usually contain different versions of a piece of music. While there is often no explanation for these different versions, some variants are attributed to different composers or performers according to personal stylistic characteristics, while others are chronologically characterized as “old-new”. In addition, in some cases the notation was corrected by the scribe or a later hand, or notes were made about the quality of the present version. The fact that musicians educated in an oral tradition (meşk system), where repetition and imitation of the teacher are of great importance, made such evaluations during the written transmission of music cannot be considered independent from the practices of the oral tradition and provide important information about the underlying musical concepts. This study aims to examine the variability in Ottoman art music in the light of various examples selected from Hampartsum notebooks, in parallel with cultural paradigms.

References

  • Manuscripts in Hampartsum Notation
  • NE203 [TR-Iüne 203-1]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 203-1.
  • NE205 [TR-Iüne 205-3]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 205-3.
  • NE207 [TR-Iüne 207-5]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 207-5.
  • NE208 [TR-Iüne 208-6]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 208-6.
  • NE211 [TR-Iüne 211-9]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 211-9.
  • NE214 [TR-Iüne 214-12]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 214-12.
  • NE215 [TR-Iüne 215-13]. İstanbul Üniversitesi Nadir Eserler Kütüphanesi. Ms. Y 215-13.
  • OA355 [TR-Iboa TRT.MD.d.355]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 355.
  • OA405 [TR-Iboa TRT.MD.d.405]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 405.
  • OA463 [TR-Iboa TRT.MD.d.463]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 463.
  • OA481 [TR-Iboa TRT.MD.d.481]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 481.
  • OA487 [TR-Iboa TRT.MD.d.487]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 487.
  • OA535 [TR-Iboa TRT.MD.d.535]. Devlet Arşivleri Başkanlığı Osmanlı Arşivi. Ms. TRT.MD.d 535.
  • TA110 [TR-Iütae 110]. İstanbul Üniversitesi Türkiyat Araştırmaları Ensitüsü Kütüphanesi, Arel Collection. Ms. 110
  • Secondary Literature
  • Aslan, F. (2007). Âşık edebiyatı ‘Usta-Çırak Geleneği’ ile geleneksel Osmanlı Türk müziği ‘Meşk Usûlü’nün karşılaştırılması [Comparison of 'Master-Apprentice Tradition' in Âşık literature and 'Meşk Practice' in traditional Ottoman Turkish music]. 38. ICANAS Uluslararası Asya ve Kuzey Afrika Çalışmaları Kongresi, Ankara.
  • Ayas, G. (2015). Alâeddin Yavaşca ve meşk ahlakı: Yaşayan bir geleneğin sosyolojik analizi [Alâeddin Yavaşca and ethics of meşk: A sociological analysis of a living tradition]. Sosyologca, (9), pp. 77–93.
  • Baecker, D. (2012). Wozu Kultur? Berlin: Kulturverlag Kadmos.
  • Baßler, M. (2020). Die kulturpoetische Funktion des Archivs. In P.-M. Dallinger & G. Hofer (Eds.), Logiken der Sammlung: Das Archiv zwischen Strategie und Eigendynamik (pp. 27–39). Berlin, Boston: De Gruyter.
  • Behar, C. (1998). Aşk olmayınca meşk olmaz [When there is no love, there is no love]. İstanbul: Yapı Kredi Yayınları.
  • Beşiroğlu, Ş. (1997, Mayıs). Türk musikisinde üslup ve tavır açısından Meşk [Meşk in terms of style and attitude in Turkish music] (pp. 136–142). Türk Müziğinde Eğitim Sempozyumu içinde. 4. İstanbul Türk Müziği Günleri.
  • Dimitriou, M. (2020). Codex TR-Iüne 215-13: Nādīde ṭaḳımlar ʿatīḳ [Preprint edition]. Münster: Corpus Musicae Ottomanicae. https://corpus-musicae-ottomanicae.de/receive/cmo_mods_00000300
  • Dural, S. (2019). Bir ilişkisel üretim süreci olarak müzikal yaratım; Abdülbâkî Nâsır Dede ve Hüseyin Sadettin Arel örneği [musical creation as a interrelational production process; The case of Abdülbâkî Nâsır Dede and Hüseyin Sadettin Arel] (Unpublished Doctoral Dissertation). İTÜ, Sosyal Bilimler Enstitüsü, İstanbul.
  • Eggebrecht, H. H. (1998). Was ist Notenschrift? In H. Danuser & T. Plebuch (Eds.), Musik als Text: Bericht über den Internationalen Kongreß der Gesellschaft für Musikforschung Freiburg im Breisgau 1993 (vol. 1, pp. 75–77). Kassel: Bärenreiter Verlag.
  • Ekinci, M. U. (2012). The Kevserî Mecmûasi unveiled: Exploring an eighteenth-century collection of Ottoman music. Journal of the Royal Asiatic Society, no. 2 (22), pp. 199–225.
  • Ergur, A. & Doğrusöz, N. (2015). Resistance and adoption towards written music at the crossroads of modernity: Gradual passage to notation in Turkish Makam music, International Review of the Aesthetics and Sociology of Music, no.1 (46).
  • Ezgi, S. (1933–53). Nazarî ve amelî Türk musikisi. 5 vols. İstanbul: Millî Mecmua Matbaası.
  • Feldman, W. (1990–1991). Cultural authority and authenticity in the Turkish repertoire. Asian Music, no. 1 (22), pp. 73–111.
  • Gerçek, İ. H. (2008). Geleneksel Türk sanat müziğinde Meşk sisteminden notalı eğitim sistemine geçişle ilgili bazı düşünceler [Some thoughts on the transition from the Meşk system to the education system with notation in traditional Turkish srt music]. A.Ü. Türkiyat Araştırmaları Enstitüsü Dergisi, (38), pp.151–158.
  • Hâşim Bey (2016). 19. yüzyıl Türk musikisinde Hâşim Bey mecmuası. Birinci bölüm: Edvâr [Hâşim Bey mecmuası in 19th century Turkish music: Part one: Edvâr]. Edited and translated by Gökhan Yalçın. Ankara: Atatürk Kültür Merkezi.
  • Haug, J. I. (2019). Mündlich tradierte Musik, schriftliche Fixierung und kulturelle Rückkopplungen. In S. Freitag, M. Geierhos, R. Asmani & J. I. Haug (Eds.). Unschärfe – Der Umgang mit fehlender Eindeutigkeit (pp. 71–91). Leiden, The Netherlands: Brill | Schöningh. doi: https://doi.org/10.30965/9783657788965
  • Haug, J. I. (2021). Güfte mecmuaları, eser kavramı ve notasız aktarım. In Fikret Karakaya (Ed.), Osmanlı-Türk müziğine bakışlar: Tarih, teori ve icra [lyric anthologies, The concept of composition and transmission without notation. perspectives on Ottoman-Turkish music: History, theory and performance] (pp. 189-203). İstanbul: Arkeoloji ve Sanat Yayınları.
  • Jäger, R. M. (1996). Türkische Kunstmusik und ihre handschriftlichen Quellen aus dem 19. Jahrhundert. Eisenach: Verlag der Musikalienhandlung Karl Dieter Wagner.
  • Jäger, R. M. (2016). Concepts of western and Ottoman music history. In M. Greve (Ed.). Writing the history of “Ottoman Music” (pp. 33–50). Würzburg: Ergon-Verlag.
  • Kantemiroğlu (2001). Kitābu ‘İlmi’l-Mūsīḳī ‘alā vechi’l-Ḥurūfāt/Mûsikîyi Harflerle Tesbît ve İcrâ İlminin Kitabı [The Book on the Science of Reading and Performing Music with Letters]. Edited and translated by Yalçın Tura (vol. 2). Istanbul: Yapı Kredi Yayınları.
  • Kēltzanidēs, P. G. (1881). Methodikē didaskalia theōretikē te kai praktikē pros ekmathēsin kai diadosin tou gnēsiou exōterikou melous tēs kath’ ēmas ellēnikēs mousikēs kat’ antiparathesin pros tēn Aravopersikēn. Istanbul: Ek tou Typographeiou A. Koromela kai Yiou.
  • Kevserî (2016). Kevserî mecmuası: 18. Yüzyıl saz müziği külliyatı [Kevserî Mecmuası: 18th century instrumental music corpus]. Edited by M. U. Ekinci. Istanbul: Pan Yayıncılık.
  • Olley, J. (2017a). Writing music in nineteenth-century Istanbul: Ottoman Armenians and the invention of Hampartsum notation (Unpublished Doctoral Dissertation). London: King’s College London.
  • Olley, J. (2017b). Rhythmic augmentation and the transformation of the Ottoman Peşrev, 18th – 19th Centuries. In Z. Helvacı, J. Olley & R. M. Jäger (Eds.), Rhythmic cycles and structures in the art music of the Middle East (pp. 179–188). Würzburg: Ergon-Verlag.
  • Olley, J. (2018). Towards a new theory of historical change in the Ottoman instrumental repertoire. In R. Harris & M. Stokes (Eds.), Theory and practice in the music of the Islamic world: Essays in honour of Owen Wright(pp. 22–41). Aldershot: Ashgate.
  • Olley, J. (2020). Codex TR-Iüne 203-1. Peşrevs and Saz Semâîsis Notated by Hampartsum Limonciyan (1768– 1839): Commentary (vol. 2). Münster: Corpus Musicae Ottomanicae. Retrieved March 5, 2023, from https:// corpus-musicae-ottomanicae.de/receive/cmo_mods_00000413
  • Pelen, S. (2022). Codex TR-Iüne 214-12: Peşrevs and Saz Semâîsis: Transcription and Commentary. (2 vols.) [Preprint edition]. Münster: Corpus Musicae Ottomanicae. Retrieved March 5, 2023, from https:// corpus-musicae-ottomanicae.de/receive/cmo_mods_00000415
  • Popescu-Judetz, E. (2007). A summary catalogue of the Turkish makams. Istanbul: Pan Yayıncılık.
  • Öztuna, Y. (2006). Türk Mûsikîsi / Akademik Klasik Türk San'at Mûsikîsi'nin Ansiklopedik Sözlüğü [Turkish Music / Academic Encyclopedic Dictionary of Classical Turkish Art Music] (edt. Ahmet Nezihi Turan), 2 vols. Ankara: Orient Yayınları.
  • Uslu, R. (2020). Güfte mecmualarinda ‘Bu müzik eseri kimin?’ problemive müzikolojik bir metot önerisi [The problem of 'Whose is this musical composition' in Lyric anthologies? and a musicological method suggestion]. Yegâh Mûsikî Dergisi, III (2) pp. 137–153.
  • Zeybek, Ö. (2013). Türk Makâm Müziği’nde üslûp-tavır görüşleri doğrultusunda Münir Nurettin Selçuk, Alâeddin Yavaşça ve Bekir Sıdkı Sezgin crâlarının analizi [Analysis of the performances of Münir Nurettin Selçuk, Alaeddin Yavaşça and Bekir Sıdkı Sezgin in line with their views on the concept of style in Turkish Makam Music] (Unpublished Master's Thesis). İTÜ, Sosyal Bilimler Enstitüsü: İstanbul.
There are 47 citations in total.

Details

Primary Language English
Journal Section Research Article
Authors

Marco Dımıtrıou This is me 0009-0003-3059-0312

Semih Pelen 0000-0003-4680-5739

Early Pub Date May 30, 2023
Publication Date May 31, 2023
Submission Date March 21, 2023
Published in Issue Year 2023 Issue: 27

Cite

APA Dımıtrıou, M., & Pelen, S. (2023). An Archive of Variants - Hampartsum Notation and Variability in the Transmission of Ottoman Art Music. MSGSÜ Sosyal Bilimler(27), 30-48. https://doi.org/10.56074/msgsusbd.1268824