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Writing the History of “Ottoman Music”

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Writing the History of “Ottoman Music” https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb Writing the History of “Ottoman Music” © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb ISTANBULER TEXTE UND STUDIEN HERAUSGEGEBEN VOM ORIENT-INSTITUT ISTANBUL BAND 33 © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb Writing the History of “Ottoman Music” Edited by Martin Greve Translations by Efkan Oğuz Martin Greve Onur Nobrega WÜRZBURG 2016 ERGON VERLAG WÜRZBURG IN KOMMISSION © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb Umschlaggestaltung: Taline Yozgatian Umschlagabbildung: Manuscript Y 211/9, p. 16, İstanbul Üniversitesi Nadır Eserler Kütüp- hanesi; Irak Elçi Peşrevi, Hamparsum notation, early 19th century. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-3-95650-205-7 ISSN 1863-9461 © 2016 Orient-Institut Istanbul (Max Weber Stiftung) Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung des Werkes außerhalb des Urheberrechtsgesetzes bedarf der Zustimmung des Orient-Instituts Is- tanbul. Dies gilt insbesondere für Vervielfältigungen jeder Art, Übersetzungen, Mikro- verfilmung sowie für die Einspeicherung in elektronische Systeme. Gedruckt mit Unter- stützung des Orient-Instituts Istanbul, gegründet von der Deutschen Morgenländischen Ge- sellschaft, aus Mitteln des Bundesministeriums für Bildung und Forschung. Ergon-Verlag GmbH Keesburgstr. 11, D-97074 Würzburg © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb Contents Martin Greve Introduction............................................................................................................. 7 1. Writing the History of Ottoman Music Bülent Aksoy Preliminary Notes on the Possibility (or Impossibility) of Writing Ottoman Musical History ................................................................... 15 Ralf Martin Jäger Concepts of Western and Ottoman Music History.............................................. 33 Ruhi Ayangil Thoughts and Suggestions on Writing Turkish Music History ............................ 51 Ersu Pekin Neither Dates nor Sources: A Methodological Problem in Writing the History of Ottoman Music ................................................................................................. 57 2. Periodization of Ottoman Music Nilgün Doğrusöz From Anatolian Edvâr (Musical Theory Book) Writers to Abdülbâkî Nâsır Dede: An Evaluation of the History of Ottoman/Turkish Music Theory...................... 77 Walter Feldman 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.............................................. 87 Kyriakos Kalaitzidis Post-Byzantine Musical Manuscripts as Sources for Oriental Secular Music: The Case of Petros Peloponnesios (1740-1778) and the Music of the Ottoman Court ................................................................ 139 Gönül Paçacı Changes in the Field of Turkish Music during the Late Ottoman/Early Republican Era............................................................ 151 © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb 6 CONTENTS 3. History of Anatolian Folk Music Arzu Öztürkmen The Quest for “National Music”: A Historical-Ethnographic Survey of New Approaches to Folk Music Research........................................................................................ 169 Okan Murat Öztürk An Effective Means for Representing the Unity of Opposites: The Development of Ideology Concerning Folk Music in Turkey in the Context of Nationalism and Ethnic Identity........................................... 177 Süleyman Şenel Ottoman Türkü .................................................................................................... 195 4. The Reconstruction of Historical Ottoman Music Fikret Karakaya Do Early Notation Collections Represent the Music of their Times?............... 213 Şehvar Beşiroğlu Demetrius Cantemir and the Music of his Time: The Concept of Authenticity and Types of Performance .................................. 219 Andreas Haug Reconstructing Western “Monophonic” Music.................................................. 231 Recep Uslu Is an Echo of Seljuk Music Audible? A Methodological Research................................................................................. 241 Bibliography..........................................................................................................247 Contributors ........................................................................................................ 265 © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb Introduction Martin Greve Over the past twenty years the research on the music history of Ottoman and pre- Ottoman times has made remarkable progress. Many important sources, theory books, treatises and song collections, which had been hidden in private collec- tions, have been edited, reprinted, or at least analysed in specific articles and monographs. Western as well as Turkish historians and music historians, begin- ning with Yılmaz Öztuna, Gültekin Oransay, Eckhard Neubauer, Owen Wright, Eugenia Popescu-Judetz, Yalçın Tura, Murat Bardakçı, Walter Feldman, Cem Be- har, Recep Uslu and following them many younger scholars, partially replaced musicians and (ethno-)musicologists in the field of Turkish art music research, and with them a historical, sources-based approach has gained increasing weight. Today the search for and the analysis of sources is a central field of Turkish mu- sicology, and will probably remain so for several more years. Still a great number of sources deserve scientific editions, such as the Kevserî Mecmuası, the collections with Hamparsum notation of the 19th century, or the only recently discovered post-Byzantine manuscripts (see Kalaitzidis in this book). In particular the scien- tific edition of music notations (which was in Europe the central field of musi- cology for more than a century) has hardly begun and will last at least two more decades. However, together with the increasing knowledge of sources the general his- torical outline, the cohesion between the growing amount of detail has been in danger of being lost. Whereas the existence of these source gives rise to the hope that a kind of Ottoman-Turkish music history going back to earlier than the start of the 20th century could be possible (different from so many other music cul- tures in which no written sources exist), even if concepts of historiography and strategies of writing an encompassing history have hardly been discussed. In order to reflect the conditions of writing music history in Turkey today several authors in the present volume begin their reflections by looking back to the story of mu- sic history in Turkey itself, from its beginnings around 1900 until today. The title of this book already indicates two general problems of the project. The term “Ottoman music” used here obviously replaces the notion of “Turkish music” as used in many Turkish publications, beginning with Rauf Yekta’s pio- neering article in the Encyclopédie Lavignac (1922), up to Öztuna’s Encyclopedia of Turkish Music (1976/90) and many recent Turkish books on music history (e.g. Özalp 1986). Also many older western publications referred to “Turkish music”, and it was only the historical approach that insisted on the foundation of a “Turk- ish Republic” in 1923, and reminded to the different, even pejorative use of the term “Turkish” before. Together with the influence of Turkish nationalism, also © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956507038, am 30.09.2021, 23:15:38 Open Access - http://www.nomos-elibrary.de/agb 8 MARTIN GREVE the impact of western orientalism needs to be taken into account, in particular for the period immediately before the emergence of music history in Turkey (Aksoy, Öztürk). In particular for the study of folk music history the discussion on Turkish na- tionalism and its influence on music and musical life in the early Republican era is crucial (Öztürkmen, Öztürk). In this field the turn to a historical approach has dramatic consequences: instead of a history of “Turkish music” that claims to cover virtually thousands of years, beginning in a mystical Central Asian prehis- tory, a source-based historical approach will in most cases reduce the scope of music history to the 19th and 20th century. Oral history is still a
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