The terms ‘iconography ‘and ‘iconology’, were coined by 16th-century humanists for the study of e... more The terms ‘iconography ‘and ‘iconology’, were coined by 16th-century humanists for the study of emblems, portraits on coins and other pictorial evidence from ancient sources. They referred to the description (Gk: graphein) or interpretation (Gk: logos) of the content of pictures with respect to both visual symbolism and factual content. When, in the 19th century, art history became established as an academic discipline, a comprehensive analytical method was developed in which content and form became the main subjects of analysis. From then on, scholars used the terms ‘iconography’ and ‘iconology’ when they referred to the study of content as opposed to the study of form or style. In musicology, however, both approaches continued to exist, side by side. The resulting ambiguity remains an obstacle to the unequivocal usage of the term. Some treat the visual arts as a supplier of special information pertinent to musical facts, using musical iconography as an ancillary tool for research in the pictorial documentation of instruments and performance. Others consider an image with musical subject matter as a work of art in its own right, using musical iconography as a research tool in the development of their vision and visualization of music. (Oxford Dictionary Online) To date, the iconography of Turkish Makam music has previously received scant attention from scholars in the field. But my research into Mughal, Timurid and Ottoman courts covering the same time period has revealed that the similarities between the musical instruments present in their visual materials are very important. My research on Ottoman musical instruments has, for instance, revealed that similar instruments existed over a vast geographical area stretching from the Balkans to China. I have compared the miniatures (eastern iconographical materials) from all courts to reveal the similarities. Although much of my research work has been on Ottoman musical instruments, I have also gathered information on Mughal and Timurid instruments and, it was because of the similarities between Mughal, Timurid and Ottoman musical instruments that I titled this article “Musical instruments of Mughal, Timurid and Ottoman courts as depicted in contemporary paintings”. Manuscripts and miniatures produced in Timurid, Ottoman and Mughal courts are the most important sources when studying their musical instruments. Together, manuscripts and miniatures provide valuable information about the instruments' physical properties, their structural and acoustic characteristics, and about the social contexts in which these instruments were used. Visual materials from these sources provide useful information for music historians. On the basis of material gathered for this article, representational art provides insights into the types of instruments in use historically and their appropriate musical functions, as well as telling us something of the musician's social role as courtier, guild member, and participant in public and private ceremonies and rituals. Through this material, the researchers is able to appreciate the importance of music and musicians in court life.
Background in ethnomusicology. The Mevlevi Order of Sufism, founded in Konya (Turkey) by the fol... more Background in ethnomusicology. The Mevlevi Order of Sufism, founded in Konya (Turkey) by the followers of Mevlana Celaleddin Rumi, cherishes music in their rituals as do many other Sufi Sects. Whirling Dervish Rituals may be described as a form of worship, and music is one of the main elements of the ritual. The commodification of cultural and spiritual traditions into products and the representation of rituals in the form of public performances has also influence the appreciation of Mevlevi music. World music market can be mentioned as one of the industries highly influenced by this process, especially in the cases of ritual concept strongly affiliated with the accompanying music. The rising interest in Mevlevi culture, together with the popularity of demonstrations of Whirling Dervish ceremonies as tourist or cultural attractions, have also influenced the recent representations of Mevlevi music, usually with the title ‘Sufi music’ in the music industry. Background in music theory. The music of the Mevlevi Order is strongly affiliated with the Turkish makam music tradition. The music accompanying the Whirling rituals is a form in Ottoman Turkish makam music, called Ayin-i Şerif , composed according to a specific set of theoretical rules in tonality, rhythmic structure and melodic contour. This article summarizes those rules to make comparisons with recent music works including ‘Mevlevi music’ in their title. Aims. This paper concentrates on how the performance and reception of ‘Mevlevi music’ has changed with the influence of the commodification process. Main contribution. With the promotion of traditional Turkish makam music as “Mevlevi” music, spiritual attributions of Sufi music become a marketing tool, that is to say, non-musical aspects of Mevlevi music become a tool for the promotion of both secular and religious Turkish Makam Music in the of New Age music market. Implications. Mimesis of the Whirling Dervish Ceremonies, that imitates the main rules of the ritual, with the process of commodification turns into a show. In the case of Turkish Art Music or the fusion of ney and electronic sampling promoted as Mevlevi Music, the spiritual values of Mevlevi culture becomes a base for meanings attributed to the music positioned in the world music market with spiritual content. In touristic performances, it is observed that instead of performing the whole Ayin-i Şerif which is approximately 1 hour long, the sections of it have combined to accompany the whirling show. In such performances, usually Mevlevi Ayini in Nihavend, Buselik, Rast and Segah makams have been performing, because those create proximity with European art music tonal system.
The terms ‘iconography ‘and ‘iconology’, were coined by 16th-century humanists for the study of e... more The terms ‘iconography ‘and ‘iconology’, were coined by 16th-century humanists for the study of emblems, portraits on coins and other pictorial evidence from ancient sources. They referred to the description (Gk: graphein) or interpretation (Gk: logos) of the content of pictures with respect to both visual symbolism and factual content. When, in the 19th century, art history became established as an academic discipline, a comprehensive analytical method was developed in which content and form became the main subjects of analysis. From then on, scholars used the terms ‘iconography’ and ‘iconology’ when they referred to the study of content as opposed to the study of form or style. In musicology, however, both approaches continued to exist, side by side. The resulting ambiguity remains an obstacle to the unequivocal usage of the term. Some treat the visual arts as a supplier of special information pertinent to musical facts, using musical iconography as an ancillary tool for research in the pictorial documentation of instruments and performance. Others consider an image with musical subject matter as a work of art in its own right, using musical iconography as a research tool in the development of their vision and visualization of music. (Oxford Dictionary Online) To date, the iconography of Turkish Makam music has previously received scant attention from scholars in the field. But my research into Mughal, Timurid and Ottoman courts covering the same time period has revealed that the similarities between the musical instruments present in their visual materials are very important. My research on Ottoman musical instruments has, for instance, revealed that similar instruments existed over a vast geographical area stretching from the Balkans to China. I have compared the miniatures (eastern iconographical materials) from all courts to reveal the similarities. Although much of my research work has been on Ottoman musical instruments, I have also gathered information on Mughal and Timurid instruments and, it was because of the similarities between Mughal, Timurid and Ottoman musical instruments that I titled this article “Musical instruments of Mughal, Timurid and Ottoman courts as depicted in contemporary paintings”. Manuscripts and miniatures produced in Timurid, Ottoman and Mughal courts are the most important sources when studying their musical instruments. Together, manuscripts and miniatures provide valuable information about the instruments' physical properties, their structural and acoustic characteristics, and about the social contexts in which these instruments were used. Visual materials from these sources provide useful information for music historians. On the basis of material gathered for this article, representational art provides insights into the types of instruments in use historically and their appropriate musical functions, as well as telling us something of the musician's social role as courtier, guild member, and participant in public and private ceremonies and rituals. Through this material, the researchers is able to appreciate the importance of music and musicians in court life.
Background in ethnomusicology. The Mevlevi Order of Sufism, founded in Konya (Turkey) by the fol... more Background in ethnomusicology. The Mevlevi Order of Sufism, founded in Konya (Turkey) by the followers of Mevlana Celaleddin Rumi, cherishes music in their rituals as do many other Sufi Sects. Whirling Dervish Rituals may be described as a form of worship, and music is one of the main elements of the ritual. The commodification of cultural and spiritual traditions into products and the representation of rituals in the form of public performances has also influence the appreciation of Mevlevi music. World music market can be mentioned as one of the industries highly influenced by this process, especially in the cases of ritual concept strongly affiliated with the accompanying music. The rising interest in Mevlevi culture, together with the popularity of demonstrations of Whirling Dervish ceremonies as tourist or cultural attractions, have also influenced the recent representations of Mevlevi music, usually with the title ‘Sufi music’ in the music industry. Background in music theory. The music of the Mevlevi Order is strongly affiliated with the Turkish makam music tradition. The music accompanying the Whirling rituals is a form in Ottoman Turkish makam music, called Ayin-i Şerif , composed according to a specific set of theoretical rules in tonality, rhythmic structure and melodic contour. This article summarizes those rules to make comparisons with recent music works including ‘Mevlevi music’ in their title. Aims. This paper concentrates on how the performance and reception of ‘Mevlevi music’ has changed with the influence of the commodification process. Main contribution. With the promotion of traditional Turkish makam music as “Mevlevi” music, spiritual attributions of Sufi music become a marketing tool, that is to say, non-musical aspects of Mevlevi music become a tool for the promotion of both secular and religious Turkish Makam Music in the of New Age music market. Implications. Mimesis of the Whirling Dervish Ceremonies, that imitates the main rules of the ritual, with the process of commodification turns into a show. In the case of Turkish Art Music or the fusion of ney and electronic sampling promoted as Mevlevi Music, the spiritual values of Mevlevi culture becomes a base for meanings attributed to the music positioned in the world music market with spiritual content. In touristic performances, it is observed that instead of performing the whole Ayin-i Şerif which is approximately 1 hour long, the sections of it have combined to accompany the whirling show. In such performances, usually Mevlevi Ayini in Nihavend, Buselik, Rast and Segah makams have been performing, because those create proximity with European art music tonal system.
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Papers by Sehvar Besiroglu
To date, the iconography of Turkish Makam music has previously received scant attention from scholars in the field. But my research into Mughal, Timurid and Ottoman courts covering the same time period has revealed that the similarities between the musical instruments present in their visual materials are very important. My research on Ottoman musical instruments has, for instance, revealed that similar instruments existed over a vast geographical area stretching from the Balkans to China. I have compared the miniatures (eastern iconographical materials) from all courts to reveal the similarities. Although much of my research work has been on Ottoman musical instruments, I have also gathered information on Mughal and Timurid instruments and, it was because of the similarities between Mughal, Timurid and Ottoman musical instruments that I titled this article “Musical instruments of Mughal, Timurid and Ottoman courts as depicted in contemporary paintings”.
Manuscripts and miniatures produced in Timurid, Ottoman and Mughal courts are the most important sources when studying their musical instruments. Together, manuscripts and miniatures provide valuable information about the instruments' physical properties, their structural and acoustic characteristics, and about the social contexts in which these instruments were used. Visual materials from these sources provide useful information for music historians. On the basis of material gathered for this article, representational art provides insights into the types of instruments in use historically and their appropriate musical functions, as well as telling us something of the musician's social role as courtier, guild member, and participant in public and private ceremonies and rituals. Through this material, the researchers is able to appreciate the importance of music and musicians in court life.
Background in music theory. The music of the Mevlevi Order is strongly affiliated with the Turkish makam music tradition. The music accompanying the Whirling rituals is a form in Ottoman Turkish makam music, called Ayin-i Şerif , composed according to a specific set of theoretical rules in tonality, rhythmic structure and melodic contour. This article summarizes those rules to make comparisons with recent music works including ‘Mevlevi music’ in their title.
Aims. This paper concentrates on how the performance and reception of ‘Mevlevi music’ has changed with the influence of the commodification process.
Main contribution. With the promotion of traditional Turkish makam music as “Mevlevi” music, spiritual attributions of Sufi music become a marketing tool, that is to say, non-musical aspects of Mevlevi music become a tool for the promotion of both secular and religious Turkish Makam Music in the of New Age music market.
Implications. Mimesis of the Whirling Dervish Ceremonies, that imitates the main rules of the ritual, with the process of commodification turns into a show. In the case of Turkish Art Music or the fusion of ney and electronic sampling promoted as Mevlevi Music, the spiritual values of Mevlevi culture becomes a base for meanings attributed to the music positioned in the world music market with spiritual content. In touristic performances, it is observed that instead of performing the whole Ayin-i Şerif which is approximately 1 hour long, the sections of it have combined to accompany the whirling show. In such performances, usually Mevlevi Ayini in Nihavend, Buselik, Rast and Segah makams have been performing, because those create proximity with European art music tonal system.
Keywords: Mevlevi music, Sufism, whirling dervish, Turkish, makam
To date, the iconography of Turkish Makam music has previously received scant attention from scholars in the field. But my research into Mughal, Timurid and Ottoman courts covering the same time period has revealed that the similarities between the musical instruments present in their visual materials are very important. My research on Ottoman musical instruments has, for instance, revealed that similar instruments existed over a vast geographical area stretching from the Balkans to China. I have compared the miniatures (eastern iconographical materials) from all courts to reveal the similarities. Although much of my research work has been on Ottoman musical instruments, I have also gathered information on Mughal and Timurid instruments and, it was because of the similarities between Mughal, Timurid and Ottoman musical instruments that I titled this article “Musical instruments of Mughal, Timurid and Ottoman courts as depicted in contemporary paintings”.
Manuscripts and miniatures produced in Timurid, Ottoman and Mughal courts are the most important sources when studying their musical instruments. Together, manuscripts and miniatures provide valuable information about the instruments' physical properties, their structural and acoustic characteristics, and about the social contexts in which these instruments were used. Visual materials from these sources provide useful information for music historians. On the basis of material gathered for this article, representational art provides insights into the types of instruments in use historically and their appropriate musical functions, as well as telling us something of the musician's social role as courtier, guild member, and participant in public and private ceremonies and rituals. Through this material, the researchers is able to appreciate the importance of music and musicians in court life.
Background in music theory. The music of the Mevlevi Order is strongly affiliated with the Turkish makam music tradition. The music accompanying the Whirling rituals is a form in Ottoman Turkish makam music, called Ayin-i Şerif , composed according to a specific set of theoretical rules in tonality, rhythmic structure and melodic contour. This article summarizes those rules to make comparisons with recent music works including ‘Mevlevi music’ in their title.
Aims. This paper concentrates on how the performance and reception of ‘Mevlevi music’ has changed with the influence of the commodification process.
Main contribution. With the promotion of traditional Turkish makam music as “Mevlevi” music, spiritual attributions of Sufi music become a marketing tool, that is to say, non-musical aspects of Mevlevi music become a tool for the promotion of both secular and religious Turkish Makam Music in the of New Age music market.
Implications. Mimesis of the Whirling Dervish Ceremonies, that imitates the main rules of the ritual, with the process of commodification turns into a show. In the case of Turkish Art Music or the fusion of ney and electronic sampling promoted as Mevlevi Music, the spiritual values of Mevlevi culture becomes a base for meanings attributed to the music positioned in the world music market with spiritual content. In touristic performances, it is observed that instead of performing the whole Ayin-i Şerif which is approximately 1 hour long, the sections of it have combined to accompany the whirling show. In such performances, usually Mevlevi Ayini in Nihavend, Buselik, Rast and Segah makams have been performing, because those create proximity with European art music tonal system.
Keywords: Mevlevi music, Sufism, whirling dervish, Turkish, makam