Challenges and New Insights in the Critical Edition of the Persianate Repertoire in Ottoman Music

Öz

Many scribes of historical Ottoman song text collections attributed pieces related to the Persianate repertoire to renowned late medieval composers. Researchers working more closely on the early song text collections pointed to the considerable change undergone by Ottoman music repertoire at the beginning of the seventeenth century. Apparently, a shift from a popular to a more courtly style occurred, while the Persianate repertoire regained significance and was perceived as old and authoritative. How this “revived” and established repertoire was transmitted in nineteenth-century music collections is still a research topic which is pending and important. This paper looks at three vocal pieces of the kâr genre that derived from the Ottoman Persianate repertoire and were handed down in Hampartsum music collections. Based on Cantemir’s descriptions of the kâr, this paper will highlight divergences in the transmission practices relating to the Persianate repertoire and suggest alternative readings based on historical materials, both musical and textual.

Anahtar Kelimeler

• Ottoman Music
• Song Text Collections
• Persian Lyrics
• Kâr
• Vocal Music

Challenges and New Insights in the Critical Edition of the Persianate Repertoire in Ottoman Music

Öz

Many scribes of historical Ottoman song text collections attributed pieces related to the Persianate repertoire to renowned late medieval composers. Researchers working on the early song text collections more closely pointed to the considerable change Ottoman music repertoire underwent at the beginning of the seventeenth century. Apparently a shifted from a popular to a courtlier style occurred, while the Persianate repertoire regained significance and was perceived as old and authoritative. How this “revived” and established repertoire was transmitted in nineteenth-century music collections is still a pending and important research topic. This paper looks at three vocal pieces of the kâr genre that derived from the Ottoman Persianate repertoire and that was handed down in Hampartsum music collections. Based on Cantemir’s descriptions of the kâr, this paper will point to divergences in the transmission practices of the Persianate repertoire and suggest alternative readings based on historical musical and textual materials.

Anahtar Kelimeler

• Ottoman music
• Song text collections
• Persian lyrics
• Kâr

Destekleyen Kurum

Corpus Musicae Ottomanicae (Münster Üniversitesi)

Teşekkür

Neslihan Demirkol; Mohsen Mahdavi

Kaynakça

1. A. Manuscript Sources Istanbul Atatürk Kitaplığı:
2. TR-Iak MC_Yz_K.000431. (n.d.). [Song text anthology]
3. Istanbul University – Library for Rare Works
4. TR-Iüne 204-2. (n.d.). [Mixed music collection in Hampartsum notation].
5. TR-Iüne T.Y. 3466. (n.d.). [Song text anthology].
6. TR-Iüne T.Y. 3608. (n.d.). [Song text anthology].
7. TR-Iüne T.Y. 3866. (n.d.). [Song text anthology].
8. TR-Iüne T.Y. 5644. (n.d.). [Song text anthology].

9. Museum of the Topkapı Palace - Library for Manuscripts
10. TR-Itks R. 1723 (Revan Köşkü Kitaplığı). (n.d.). [Song text anthology].
11. TR-Itks R. 1724 (Revan Köşkü Kitaplığı). (n.d.). [Song text anthology].
12. Staatsbibliothek zu Berlin Preußischer Kulturbesitz:
13. D-Bsbha Ms. or. quart. 1578. (n.d.). [Song text anthology].
14. T.C. Cumhurbaşkanlığı Devlet Arşivleri Başkanlığı
15. TR-Iboa TRT.MD.d.569. (n.d.). [Music collection in staff notation]
16. B. Secondary Literature
17. Behar, C. (1998). Aşk olmayınca meşk olmaz: Geleneksel Osmanlı / Türk müziğinde öğretim ve intikal. Istanbul: Yapı Kredi Yayınları.
18. Behar, C. (2020). Orada bir musıki var uzakta: XVI. yüzyıl İstanbulu’nda Osmanlı/Türk musıki geleneğinin oluşumu. Istanbul: Yapı Kredi Yayınları.
19. Cantemir, D. (1734). The history of the growth and decay of the Ottoman Empire (N. Tindal, Trans.). London: James, John, and Paul Knapton.s
20. Cantemir, D., & Tura, Y. (Eds.). (2001). Kitābu ʻilmi’l-mūsīḳī ʻalā vechi’l-ḥurūfāt: Mûsikîyi harflerle tesbît ve icrâ ilminin kitabı. Istanbul: Yapı Kredi Yayınları.
21. Demirkol, N. & Sharif, M. (Eds.). (2021). Codex TR-Iüne 204-2: Text Edition.
22. ———. (2021). Kār-ı Bāġ-ı behişt Ḫāce. CMO1-I/02.053t (Preprint publication).
23. ———. (2021). Kār-ı Şevḳ-nāme ḥafīf. CMO1-I/02.88t (Preprint publication).
24. ———. (2021). Ḳār-ı muḥteşem Ḫāce’niñ devr-i Hindī. CMO1-I/2.89t (Preprint publication).
25. Ezgi, S. (ca. 1935–1940). Nazarî, amelî Türk musikisi (Vol. 3). Istanbul: Bankalar Basımevi.
26. Feldman, W. (1996). Music of the Ottoman court: Makam, composition and the early Ottoman instrumental repertoire. Berlin: VWB – Verlag für Wissenschaft und Bildung.
27. ———. (2015). The Musical “Renaissance” of late seventeenth century Ottoman Turkey: Reflections on the musical materials of Ali Ufkî Bey (ca. 1610–1675), Hâfız Post (d. 1694) and the “Marâghî” Repertoire. In M. Greve (Ed.), Writing the history of “Ottoman Music” (pp. 87–139). Würzburg: Ergon Verlag.
28. Jäger, R. M. (1996). Türkische Kunstmusik und ihre handschriftlichen Quellen aus dem 19. Jahrhundert. Eisenach: Karl Dieter Wagner.
29. Kerovpyan, A. (2010). Klasik Osmanlı müziği ve Ermeniler (A. Yılmaz, Trans.). Istanbul: Surp Pırgiç Ermeni Hastanesi Vakfı.
30. [Konuk], A. ʿAvnī. (1317 h./1899). Ḫānende: müntaḫab ve mükemmel şarḳı mecmūʿası. Istanbul: Kütüpḫāne-i Cihān Ṣāḥibi Mihrān.
31. Mıhçı, Cüneyt-Ersin (Ed.). (2021). Codex TR-Iüne 204-2: Music Edition.
32. ———. (2021). Kār-ı Bāġ-ı behişt Ḫāce. CMO1-I/02.053 (Preprint publication).
33. ———. (2021). Kār-ı Şevḳ-nāme ḥafīf. CMO1-I/02.88 (Preprint publication).
34. ———. (2021). Ḳār-ı muḥteşem Ḫāce’niñ devr-i Hindī. CMO1-I/02/089 (Preprint publication). Neubauer, E., & Fonton, C. (1999). Der “Essai sur la musique orientale” von Charles Fonton mit Zeichnungen von Adanson. Frankfurt am Main: Institute for the History of Arabic-Islamic Science.
35. Olley, J. (2017). Writing music in nineteenth-century Istanbul: Ottoman Armenians and the invention of Hampartsum notation [Doctoral dissertation, King’s College London].
36. Özalp, M. N. (1992). Türk mûsikîsi beste formları. Ankara: TRT.
37. Özkan, İ. H. (2014). Türk mûsikîsi nazariyatı ve usûlleri kudüm velveleleri. Istanbul: Ötüken.
38. Popescu-Judetz, E. (1996). Meanings in Turkish musical culture. Istanbul: Pan.
39. Romanou, K. (2010). Great theory of music. New Rochelle: The Axion Estin Foundation.
40. [Uz], Kāẓim (1310 h./1892). Mūsīkī ıṣtılāḥātı. Istanbul: Maṭbaʿa-yı Ebū Elẓiyā.
41. Wright, O. (1992). Words without songs: A musicological study of an early Ottoman anthology and its precursors. London: School of Oriental and African Studies, University of London.
42. Yavaşca, A. (2002). Türk mûsikîsinde kompozisyon ve beste biçimleri. Istanbul: Türk Kültürüne Hizmet Vakfı.