The Emergence of Ottoman Music and Local Modernity

Yıl 2019, Cilt: 1, 173 - 179, 27.12.2019

Walter Feldman

https://doi.org/10.53979/yillik.2019.10

Öz

By the turn of the eighteenth century this Ottoman musical ‘renaissance’ involved also musical theory and notation (with Osman Dede and Cantemir). A fuller development of the new conceptions of usul and melody emerged in the generation after Cantemir (with Zaharya, Haham Musi, et al.). This new music involved a synthesis of Persian, Turkic, and Byzantine elements. The entrance of non-Muslims—notably Greek cantors (psaltes)—into courtly composition and performance brought with them some techniques of Byzantine music, seen even two generations earlier in Itri’s Naat-ı Peygamberi. While Byzantine music lacks an usul system per se, it had a richly developed melodic line, which increased in complexity toward the end of the seventeenth century (e.g. Itri’s contemporary, Petros Bereketis [1665–1725], who was evidently familiar with Ottoman music). The stylistic emphasis of Ottoman music was now on an inward turning fusion of secular and mystical styles, including secularized allusions to the music of the Greek church. At the same time the leading Greek church composers began to incorporate elements from secular Ottoman music. This became the musical manifestation of the “locally generated modernity” of the long eighteenth century—to which both Mevlevi dervishes and non-Muslim elites contributed—and left its imprint on Ottoman music throughout much of the nineteenth century as well.

Anahtar Kelimeler

ottoman music, usul, modernity

Osmanlı Müziğinin Doğuşu ve Yerel Modernite

Öz

Bu makale, on sekizinci yüzyılda Osmanlı müziğinin bir yerel modernite veçhesi olarak kurumsallaşmasını tartışmaktadır.

Anahtar Kelimeler

osmanlı müziği, modernite, usul

Kaynakça

• 1 Marshall Hodgson, The Venture of Islam: Conscience and History in a World Civilization. Volume 1 (Chicago: University of Chicago Press, 1974), 109.
• 2 Rifa‘at Ali Abou-El-Haj, “Theorizing Historical Writing beyond the Nation-State: Ottoman Society of the Middle Period,” (unpublished paper 1992).
• 3 Owen Wright, Words without Songs: A Musicological Study of an Early Ottoman Anthology and Its Precursors. SOAS Musicology Series Volume 3 (London: Routledge, 1992), 285.
• 4 Amir Hosein Pourjavady, “The Musical Treatise of Amir Khan Gorji (c. 1108/1697)” (PhD diss., University of California, 2005), 74.
• 5 Ibid., 130.
• 6 Richard Foltz, trans., Conversations with the Emperor Jahangir (Washington D.C.: Mazda Press, 1998).
• 7 Walter Feldman, Music of the Ottoman Court: Makam, Composition and the Early Ottoman Instrumental Repertoire (Berlin: VWB, 1996); “Structure and Evolution of the Mevlevi Ayin: The Case of the Third Selam,” in Sufism, Music and Society in Turkey and the Middle East, ed. Olson Hammarlund, Tord Olsson, and Elisabeth Özdalga (Istanbul: Swedish Research Institute, 2001), 49–65.
• 8 Alexandra Dutu and Paul Cernovodeanu, eds., Dimitrie Cantemir: Historian of South East European and Oriental Civilizations (Bucharest: Association Internationale d’Études du Sud-Est Européen, 1973).
• 9 Walter Feldman, “The Musical ‘Renaissance’ of Late Seventeenth Century Ottoman Turkey: Reflections on the Musical Materials of Ali Ufki Bey (c. 1610-1675), Hafız Post (d. 1694), and the ‘Maraghi’ Repertoire,” Writing the History of Ottoman Music, ed. M. Greve (Würzburg: Ergon Verlag, 2015), 87–138.
• 10 Feldman, Music of the Ottoman Court.
• 11 For long usuls, see Feldman, “The Musical ‘Renaissance.’”
• 12 Çengi Yusuf Dede, Risale-i Edvar, ed. Recep Uslu (Ankara: Çengi Yayınevi, 2015).
• 13 Rauf Yekta, Mevlevî Ayînleri, v.2 (Istanbul: İstanbul Belediye Konservatuarı, 1924), 285.
• 14 Wright, Words Without Songs.
• 15 Walter Feldman, “The Art of Melodic Extension within and beyond the Usul,” in Rhythmic Cycles and Structures in the Art Music of the Middle East, ed. Zeynep Helvacı, Jacob Olley and Ralf Martin Jaeger (Würzburg: Ergon Verlag, 2017), 154–176.
• 16 Walter Feldman, “Structure and Evolution of the Mevlevi Ayin: The Case of the Third Selam,” in Sufism, Music and Society in Turkey and the Middle East, ed. Olson Hammarlund, Tord Olsson, and Elisabeth Özdalga (Istanbul: Swedish Research Institute, 2001), 49–65.
• 17 Harun Küçük, “Leisure in Eighteenth Century Istanbul” (Lecture, NYU Abu Dhabi Institute, NYC, January 29, 2019).
• 18 Theodore Levin, Where Rivers and Mountains Sing (Bloomington: Indiana University Press, 2006).
• 19 Amir Hosein Pourjavady, “The Musical Treatise of Amir Khan Gorji (c. 1108/1697)” (PhD diss., University of California, 2005).
• 20 Wright, Words without Songs.
• 21 Jacob Olley, “Writing Music in Nineteenth Century Istanbul: Ottoman Armenians and the Invention of the Hampartsum Notation” (PhD diss., King’s College London, 2017).