RAST MÜZİKOLOJİ DERGİSİ | Yaz Sayısı 2019, 7 (1) Original Research Toker, H. (2019), The musical relationship between England and the Ottoman Empire, Rast Musicology Journal, 7(1), s.1959-1978. Doi:https://doi.org/10.12975/pp1959-1978 The musical relationship between England and the Ottoman Empire* Hikmet Toker Corresponding author: Lecturer of Istanbul University State Conservatory, Musicology Department, İstanbul / Türkiye, [email protected] Abstract This article based on the research project that I conducted at Kings’ College London between 2015-2016. It is titled, The Musical Relationship Between England and the Ottoman Empire. The data that I obtained from the Ottoman and National archives was presented after the analysing process. In this article, the role of music in the relationship between the states and societies is analysed from the time of first diplomatic relationship to the time of the collapse of Ottoman Empire. Additionally, we examined the phenomenon of the use of music as a diplomatic and politic instrument between these countries by specific examples.The main sources of this article were predominantly obtained in the Ottoman Archive, National Archive and British Library. The catalogue numbers of some of them were presented in conclusion, with the thought that they can be used in the future project. Keywords music and politics, ottoman music, musical westernisation, music and diplomacy İngiltere - Osmanlı musiki münasebetleri Özet Bu çalışma 2015-2016 yılları arasında King’s College London’da yürüttüğüm, İngiltere-Osmanlı Müzik Münasebetleri adlı doktora sonrası araştırma projesine dayanmaktadır. Belirtilen sürede Türkiyede ve İngiltere’de yaptığım araştırmalar neticesinde elde edilen bulgular analiz edilerek metin içinde sunulmuştur. Bu çalışmada İngiltere ve Osmanlı Devleti’nin ilk diplomatik ilişkilerinin görüldüğü zamanlardan Osmanlı Devleti’nin yıkılışına kadar, devletler ve toplumlar arasında cereyan eden ilişkilerde müziğin kapsadığı rol çeşitli başlıklar altında ele alınmıştır. Ayrıca, müziğin diplomatik ve politik bir enstrüman olarak kullanılması fenomeni irdelenmiştir. Bu çalışmanın temel kaynakları ağırlıklı olarak Osmanlı Arşivi, National Archives ve British Library’de yapılan kaynak taraması sonucunda elde edilmiştir. Konumuzla ilgili olarak elde edilen kaynakların bir kısmının künyeleri ileride çalışmalarda kullanılabilecekleri düşüncesi ile çalışmanın sonuç kısmında sunulmuştur. Anahtar kelimeler müzik ve politika, osmanlı müziği, müzikal batılılaşma, müzik ve diplomasi * I am indebted to TUBITAK for supporting this research project. Additionally, I owe a debt of gratitude my supervisor Prof. Dr. Martin Stokes and my friend Sandra E. Franklin for their help in all stages of this work. 1959 The musical relationship between England and the Ottoman Empire RAST MÜZIKOLOJI DERGISI | Yaz Sayısı 2019, 7 (1) The musical relationship between England the most interesting of these instruments and the Ottoman Empire will be examined are the Oboe and the Fagot. He stated that in this article. This article based on the Oboe is a rather evolved type of the Kaba research project that I conducted at that is also known as the Zurna in Anatolia. Kings College London between 2015- The other instrument is the Trombone, 2016. This project supported by the and he indicates that the Sürme, also postdoctoral scholarship of TUBİTAK. For from Anatolia, is the ancestor of Trombone the purpose of apperceive and to explain (Kosemihal, 1939, 25). Additionally, he this relationship, we researched in the represented that Europeans borrowed Turkish and British archives and data that many rhythmic instruments from the we obtained catalogued by data collection Turks and from the Arabs. One of the method. After this stage, this data was most distinguished of them is the cymbal. analysed by content analysis method and Gazimihal states that the provenance of presented in the text. Although this article the cymbal was Ural-Asia, and it passed to is limited to the relationship between Western Europe via Russia. England and the Ottoman Empire, we mention from the musical relationship Even though it can be said that the first between all European countries and the direct musical relationship with Turks and Ottoman Empire in the introduction. After Western Europeans started with Christian this part, we focus on the main part of the crusades, the available information musical relationship between the Ottoman regarding this relationship is finite until Empire and England. This relationship is the 16th century. After the Ottoman examined in two chapters. We focus on this Empire expanded to Europe, European relationship before the 19th century in the Countries established relationships with first chapter. The second chapter includes the Ottoman Empire. Consequently, the information about this relationship during number of European travellers, who 19th century and ongoing times. While we visited Ottoman lands, dramatically mention this relationship, at the same time increased (Aksoy, 2000, 27). Historically, it we try to give some information regarding is archived that European travellers wrote the political and economical backstage of travelogues regarding their experiences in this phenomenon. the Ottoman Empire. In these travelogues is found much first-hand history regarding The Musical Relationship Between the the social life in the Ottoman Empire. Ottoman Empire and Europe Naturally, in these travelogues is included Firstly, we must emphasise the musical vast commentaries regarding one of the relationships of Turks and Europeans to most important aspects of Ottoman social explain the musical relation between life, which is the musical life. the Ottoman Empire and the British Empire. It can be discerned that the Bülent Aksoy compiled and analysed musical relationship between Turks and musical information from the various Europeans commenced in Eastern Europe. European travelogues and presented this For instance, it is known that Altınordu, in his book. There existed information Tatar, and Crimean-Turks had introduced about a specific event that can be called Turkish military musical instruments to the Ottoman dynasty’s first relationship Eastern Europe in early times (Kosemihal, with western music and with western 1939, 24). Turkish scholar, Mahmud Ragıp musicians in his work. This incident Gazimihal, gave many instruments names described the performance of a French which he theorised were imported to ensemble that was charged by French Western Europe via Eastern Europe. Two of Emperor Françoise the 1st to perform 1960 RAST MÜZIKOLOJI DERGISI | Yaz Sayısı 2019, 7 (1) Toker, H. for Kanuni Sultan Suleiman (Magnificent Because of the many defeats that Ottomans Suleiman) in the Ottoman court. According faced in the prior two centuries, the first to this information that was referenced transformation project applied was the in many books, Sultan Suleiman initially military. Military music was viewed as one listened to this ensemble with pleasure but of the most important aspects of military soon after he deported the ensemble from transformation. Therefore, Mehterhane, the Ottoman empire with the reasoning the classic military music ensemble of that this delicate music could potentially the Ottoman army, was dispersed and harm the brave character of the Ottoman instead, Musika-i Hümayun, was founded people. There is some evidence regarding in 1826. At this point, it is important to initial encounters of the Ottomans with provide information about the influence western music in several sources. For of Mehterhane on European musical life. instance, Ali Ufki Bey acknowledges that There exists information that government there was an Italian music master in the officials from some European countries Ottoman Court (Ali Ufki, 2002, 77). travelled to the Ottoman Empire to obtain information about Mehterhane, also known The other interesting example of an as “Mehter”, and its music. Ottoman encounter with western music is the operatic performance in the Sultan The following words, quoted by Gazimihal Selim 3rd court. It is said in the official diary from Hammer’s book entitled, Historie de of the Ottoman Court that Sultan Selim 3rd l’Empire Ottoman, are very important watched this Opera performance in the because they reveal the effect of the Topkapi Palace. According to this source, Mehter on European Military Music: “Sultan Selim 3rd watched a weird play that is called as Opera” (Arıkan, 1988, 427) “The Turkish military band was accepted by all Additionally, it is possible to add some of Europe (Kosemihal, 1939, 17).” examples to these incidents. It can be stated that Ottomans were rarely exposed Additionally, Gazimihal states that the to western music prior to the 19th century. concerts that were performed by the After the 19th century, many cultural, Turkish consulate’s mehter in Vienna in 1719 social, and economic changes occurred in caused Mehterhane to be known in Europe. the Ottoman Empire. Gazimihal indicated that the phenomenon Figure 1: The Illustration of Mehter. (http://www.webbilge.net, 2015) 1961 The musical relationship between England and the Ottoman Empire RAST MÜZIKOLOJI DERGISI | Yaz Sayısı 2019, 7 (1) of the imitation of Mehterhane probably D’Arenda. In other respects , it is known started after these concerts that were that many European musicians travelled appreciated by Europeans. It is understood to the Ottoman Empire for concerts or that from historical sources, there were special performances. One of the