Fikret Karakaya1

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SOSYOLOJİ DERGİSİ Başvuru: 21 Mart 2017 Revizyon gönderimi: 4 Mayıs 2017 Copyright © 2017 İstanbul Üniversitesi Edebiyat Fakültesi Sosyoloji Bölümü Kabul: 14 Haziran 2017 tjs.istanbul.edu.tr Online First: 30 Kasım 2017 DOI 10.26650/TJS.2017.2.0007 Aralık 2017 37(2) 379391 Davetli Makale Fikret Karakaya1 Öz Anahtar Kelimeler Sosyoloji Dergisi, 37 SOSYOLOJİ DERGİSİ destgâh Taksim Hanende taksimi gazel Acemler Kevserî MecMûasi Kevserî MecMûasi 380 Karakaya 381 SOSYOLOJİ DERGİSİ suzinak 382 Karakaya suzidil Birinci murabba ikinci murabbamuhammes leng fahte yürük-semâîaksak-semâîsengin-semâî yürük-semâî 383 SOSYOLOJİ DERGİSİ rebab violin kemençe violinviolonviola d’amorekeman viola d’amoreviolin kemankemânçe viola d’amore kemanviola d’amore sîneamoresîne violin 384 Karakaya cymbalom 385 SOSYOLOJİ DERGİSİ TURKISH JOURNAL OF SOCIOLOGY Received: March 21, 2017 Revision received: May 4, 2017 Copyright © 2017 Istanbul University Department of Sociology Accepted: June 14, 2017 tjs.istanbul.edu.tr/en OnlineFirst: November 30, 2017 DOI 10.26650/TJS.2017.2.0007 December 2017 37(2) 379–391 Invited Review The Self Renewal Power of the Tradition in Ottoman Music Fikret Karakaya1 Abstract Ottoman music rises upon an accumulation taken over from Timurid Empire whose political and cultural Ottoman music begins to differ from Iranian music already as of 15th century, in which plenty of new combined maqams are invented. Most of those new maqams were maqams of modulation (), ) was not seen such important in the Iranian music. At the end of 17th century, Nayi Osman Dede showed pitches on who adopted ud as the reference instrument. This was actually a sign that the theory began to become Ottomanized. “Creative performance” was mainly based on that musicians use variants of motives, and add adornments and fillings (, portamentos between wide intervals or the link between sentences before and after a long silence) in proper passages, when performing a work of their own or of another musician, during both education and transmission (mashq), during concerts and recitals in gatherings. Of course, the simultaneous creative performance of more than one musician has been resulted in a kind of heterophony. In the heterophony of musicians who perform music for long time together, a harmony peculiar to them came into being.

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