History of Turkish Music

ÖZET Tarih sahnesinden, farklı biçimlerde yorumlanan, mirası farklı boyutlarda değerlendirilenler yalnızca siyasi kişilikler ya da Napolyon gibi askeri portreler değildir. Çoğu zaman kültürel aktörler, müzisyenler örneğinde olduğu gibi benzer bir yaklaşımla karşı karşıya kalırlar. Türk musikisinde icra alanında en önemli portreyi oluşturan Tanburî Cemil Bey de kimilerine göre bir gelenek yıkıcı kimilerine göre ise geleneğin benzersiz sesi olarak değerlendirilebilir. Tanburî Cemil Bey, yaşadığı dönemde yarattığı tüm sıra dışı etkiye rağmen sonraki yıllarda büyük bir ihmale uğramış, adeta unutulmaya terk edilmiştir. Oysa 1950'li yıllarda Niyazi Sayın ve Necdet Yaşar gibi değerli genç icracılar onu yeniden plakları üzerinden keşfetmişler, müzikal mirasını yorumlayarak modern çağa taşımışlardır. Bu genç kaşifler Cemil Bey'i yeniden, müziğin anlam dünyasında var edebilmişlerdir. Özellikle Niyazi Sayın, Tıpkı Cemil Bey'in yaptığı gibi klasik tavrın dışına çıkarak yeni bir tavır inşa edebilmiştir. Kısacası yaratıcı sanatçılarda ortak bir özellik olarak nitelendirilen " yaratıcı yıkıcılık " süreciyle bir geleneği yıkmış, yerine çok etkili olacak yeni bir gelenek kurabilmiştir. Bu tebliğde Neyzen Niyazi Sayın'ın Cumhuriyet döneminde Cemil Bey'in müziğinin kültürel taşıyıcılarından biri ve aynı zamanda kaynağa yönelik kâşif bir portre olarak analizi yapılacaktır. ABSTRACT It is not only political personalities or military portraits like Napoleon, which are interpreted in different forms and interpreted in different dimensions of history. Often, cultural actors face a similar approach, as is the case with musicians. Tanburî Cemil Bey who constitutes the most important portrait in the field of performing in Turkish musicals, according to some he is destroyer of tradition and according to others he is as an unique voice according to tradition. Tanburî Cemil Bey suffered a great deal of neglect in the following years despite all the extraordinary effects he had created in his life, and he was almost forgotten. However, in the 1950s, valuable young performers like Niyazi Sayın and Necdet Yaşar discovered it again on their recordings and interpreted the musical heritage and moved to modern age. These young explorers have been able to bring Cemil Bey back to the meaning of music again. Niyazi Sayın, in particular, was able to build a new attitude out of the classical attitude just as Cemil Bey did. Shortly, in the process of "creative destructiveness", which is described as a common feature in creative artists, a tradition has been able to break down a tradition and become a new and very effective one. In this paper, Neyzen Niyazi Sayın will be analyzed as one of the cultural bearers of Cemil Bey's music during the Republican period and as an explorative portrayal of the source at the same time.

The Master’s thesis titled “Beginnings of Musical Performing Arts in Turkey-
Before and After Dikran Çuhacıyan,” focuses on western performing arts in the Ottoman Empire during the westernization movement in the Tanzimat (reformation) and early Republic period. Operas and operettas of the most prominent composer of the period, Dikran Çuhacıyan, are analyzed. The thesis shows that musical performing arts became one of the pillars of the cultural policies of the republican period and was one of the major cornerstones of musical revolution.

Bu çalışma, Türk musiki geleneğinde ve bu geleneğin önemli bölümünü oluşturan Osmanlı saray çevresinde kadının yerini ve musiki kimliğini, yazılı ve görsel belgelere dayanarak incelemeyi amaçlamaktadır. Çalışmanın ilk bölümünde genel olarak Türk toplumlarında kadın ve musiki ilişkisi incelenmektedir. Arkasından Osmanlı toplumunda ve özellikle saray çevresinde, kadın bestekârlığı ve kadın bestekârların Türk musikisindeki yeri ele alınmakta ve kadının musiki kimliğini ve kadın bestekârlığını anlamak için özellikle saray ve çevresinde musiki eği-timi almış ya da icra etmiş önemli kadın bestekârların musiki kişiliği incelenmektedir.
This study aims to examine the women and her musical identity in Turkish musical tradition and in the Ottoman Court which constitutes its the most important part by means of written and visual documents. In the study's first part, it has been examined in general sense the relationship of women and music in Turkish societies. Later, it deals withs the importance of women musicial identity and women musicians in Ottoman society, court and Turkish musical tradition. In addition, to undestand the women's musical idendity in Ottoman society, the study attempts to examine the musician identity of some women composers and musicians who had performed music or had been trained in the court and its circle.

This paper investigates the influence of alla turca style in music by W.A. Mozart and F. J. Haydn in the 18th and early 19th centuries. It begins by tracing the origin of the style back to the Ottoman janissaries and their formation in 1329, discussing the first encounters between Europeans and janissaries, and following that influence into European classical music hundreds of years later. The paper will look at various musical examples, specifically examining orchestration, instrumentation and texture.The result is educational, striking impacts and surprising moments in some of the best-loved works in western classical music.

Articles/Makaleler

Axundova, E. (2016). Əl-Fərabi Yaradıcılığında Elmi-Tətbiqi Musiqi Nəzəriyyəsi. Rast Müzikoloji Dergisi, 4(2), 1254-1258. doi:10.12975/rastmd.2016.04.02.00084

Əhmədov, Ə. (2016). Azərbaycanda xanəndəlik sənətinin İnkişaf xüsusiyyətləri. Rast Müzikoloji Dergisi, 4(2), 1217-1224. doi:10.12975/rastmd.2016.04.02.00079

Əmirbəyova, V. (2016). Вопрос Художественного Содержания Музыки В Творчестве Фикрета Амирова. Rast Müzikoloji Dergisi, 4(2), 1225-1228. doi:10.12975/rastmd.2016.04.02.00080

Əzizova, S. (2016). Azərbaycan Xalqının Toy Mərasim Musiqisi. Rast Müzikoloji Dergisi, 4(2), 1211-1216. doi:10.12975/rastmd.2016.04.02.00078

Özden, E. (2016). Effective Learning and Teaching Strategies for Ney Classes for the 9st and 10nd Grades of Fine Arts High Schools. Rast Müzikoloji Dergisi, Bakü Özel Sayısı, 4(2), 11185-1194. doi:10.12975/rastmd.2016.04.02.00074

HAZRAİ, B., (Çev. SEZİKLİ, U., & SALMANİ, M.) (2016). Abdülkadir Merâğî’ye Göre Telin Taksimi ve Sazin Perdelere Ayrilmasi. Rast Müzikoloji Dergisi, 4(2), 1266-1280. doi:10.12975/rastmd.2016.04.02.00086

Kazımova, Ü. (2016). Azər Dadaşov'un Fortepiano Sonatin Alarinda Milli Üslub Xüsusiyyətləri Və Müasir Yazi Texnikasi. Rast Müzikoloji Dergisi, 4(2), 1244-1253. doi:10.12975/rastmd.2016.04.02.00083

Məmmədova, G. (2016). Dar və Orta Həcmli Ladlara Əsaslanan Azərbaycan Mahnılarının İnkişafı. Rast Müzikoloji Dergisi(4), 1259-1265. doi:10.12975/rastmd.2016.04.02.00085

Növrəsli, A. (2016). Aqşin əlizadə yaradiciliğinda yeni təmayüllərin əksi(müvafiq əsərlər nümunəsində). Rast Müzikoloji Dergisi, 4(2), 1200-1204. doi:10.12975/rastmd.2016.04.02.00076

Qulamova, N. (2016). XX əsrdə muğamın ənənəvi tədrisində proqramların əhəmiyyəti. Rast Müzikoloji Dergisi, 4(2), 1236-1243. doi:10.12975/rastmd.2016.04.02.00082

Rzayeva, M. (2016). Tofiq Quliyev’in Dram Əsərlərinə Bəstələdiyi Musiqi(A. Saqareli’nin “Xanuma” Pyesinə Yazılmış Musiqinin Bəzi Dramaturji Xüsusiyyətləri). Rast Müzikoloji Dergisi, 4(2), 1195-1199. doi:10.12975/rastmd.2016.04.02.00075

Verdiyeva, G. (2016). Azərbaycan muğamı və Özbək şaşmakomunun müqayisəli tədqiqi məsələləri. Rast Müzikoloji Dergisi, 4(2), 1205-1210. doi:10.12975/rastmd.2016.04.02.00077

Zöhrabov, L. (2016). Bülbül Ve Halk Müziği. Rast Müzikoloji Dergisi, 4(2), 1229-1235. doi:10.12975/rastmd.2016.04.02.00081

Almost all of Köprülü’s works are scientific answers to the biased judgments of the Western orientalists on Turkish history.  These prejudices are not limited to the general orientalist attitude of the West which defined the non-Western societies as the low-other of the Western civilization. In this orientalist literature, Turks have been defined as a race that made no considerable contribution to the Islamic civilization of which they have been a part. According to this point of view, Turks owe all their cultural achievements to Arabic-Persian-Muslim civilization or the Byzantine Empire. The debates over the origins of Turkish music are the product of this larger context. Surprisingly, the Western orientalist claim that the Ottoman-Turkish music was, in fact, nothing but the later version of the Byzantine music, has been adopted by Gökalp −a prominent ideologue of Turkish nationalism– who at the same time inspired Köprülü as his mentor to write a national Turkish history to refute the biased claims of the Western orientalists.  Moreover, Gökalp’s so-called national music formula served as the theoretical foundation of the Westernizing musical policies of the young Republic which went as far as banning the Ottoman-Turkish music on radio and official institutions. While some musicologists like Arel employed Gökalp’s theoretical formula along with the so-called Turkish Historical Thesis of the new regime to defend the Ottoman-Turkish music tradition, the same Turkish Historical Thesis −which was criticized by Köprülü− was employed by official circles to exclude Ottoman-Turkish music. This article aims to reevaluate these ideological debates over the origins of Turkish music in the light of Fuad Köprülü’s historical view.

Özet
Osmanlı insanı için 19. yüzyıl, evveliyatında yaşanan zor süreçlerin artık sona erdiği, rahatça nefes alınan bir dönem değildir. Gerek siyasî gerek içtimaî alanda yaşanan zorluklarla beraber devletin ihtişamlı günlerinin arkaik heyecanları da duyulur; bakılan zaviyeye göre yorumlanabilecek olan toplumun çözülüşü veya toparlanışının aynı anda yaşandığı bir dönemdir. Yine bu zaman diliminde Türk toplumunun ileriye dönük problemlerinin tamamıyla çözüldüğü de söylenemez. Kesin olarak söyleyebileceğimiz bir yargı ise son derece hızlı gerçekleşen değişimin varlığıdır. Karşılaştığı çeşitli badireleri aşmaya çalışırken bir tarafta sarığından vazgeçmeyen "uyumcu" , diğer tarafta istanbulin giyen "değişimci" farklı çevrelerin eski ve yeni pratikleriyle oluşturduğu kültürel birikim, bugünün zihin dünyasının oluşmasında da önemli rol oynar. Ortaylı'nın "İmparatorluğun En Uzun Yüzyılı" olarak adlandırdığı bu dönemde, sanatta ve edebiyatta yeni dinamikler ve bunun sonucunda yeni, geniş bir repertuar da bırakılmaktadır. 19. yüzyılda Dinî Türk Musikisi'nin, kendi kültürel kurumlarında en üretken devrini yaşadığı malumdur. Ancak burada ele alınan konu tekke veya cami gibi dinî kurumlarla organik bir bağı bulunmayan, dışarıdan bir müzisyen için dinî musikinin ne ifade ettiğidir. Başka bir ifadeyle dinî musikinin bu kurumlar dışında da varlık göstermesi düşünülebilir mi? En uzun yüzyılın çalkantıları arasında musiki sanatının özgür ruhlu ve duyarlı dehası Tanburî Cemil Bey'in hayat hikâyesindeki kimi detaylar, var olduğu dünyanın tinsel ilkelerini ve bu dönem insanının kültürel kodlarını çözümlemek adına önemli izler içerir. Cemil Bey örneklemiyle, 19. yüzyılda dinî musikinin yaşadığı gelişmelere farklı bir bakış, Tanzimat aydınındaki dinî eğilimler ve bunun musikiye yansıması bu tebliğin ana temasını oluşturacaktır.

Abstract
For the Ottoman people, the 19th century is not a period in which the difficult processes that have taken place in the past have ended, and they are not easily breathed. Along with the difficulties in political and social life, the archaic excitement of the glorious days of the state is heard; It is a period in which the dissolution or recovery of the society, which can be interpreted according to the observed standpoint, is experienced at the same time. Again, it can not be said that the future problems of the Turkish society have been solved completely at that time. A judgment we can say for sure is the very existence of rapid change. While trying to transcend the various types of problems, "status quo supporter" who does not give up wearing fez on the one hand and "innovator" who wears redingot on the other; the cultural accumulation of old and new practices of different circles plays an important role in the formation of the present world of mind. In this period, which Ortaylı calls "The Longest Century Of The Empire," new dynamics in art and literature and, as a result, a new, wider repertoire are left. Religious Turkish music is in the most productive period in its own cultural institutions in 19th century. However, the issue addressed here is what religious music means for an outside musician who does not have an organic connection with religious institutions such as tekke or mosque. In other words, is it possible to think that religious music also existed outside these institutions? Among the turmoil of the longest century, genius of the Turkish music: "Tanburi Cemil Bey" who the free-spirited and courteous, some details of his life story contains important traces in order to analyze cultural codes of the people of that period and the fundamental principles of the world he belongs. In Tanburi Cemil Bey's example, a different look of the developments experienced by religious music in the 19. century, the religious tendencies in Tanzimat intellectuals and the music dimension of this understanding are the main theme of this paper.

This study presents a catalog of the music manuscripts that are preserved in the İstanbul Üniversitesi Nadir Eserler Kütüphanesi (İstanbul University Rare and Manuscript Collections Library). This library is especially important for its numerous music manuscripts, especially lyrics collections, which include private lyrics codices of famous composers, such as Hafiz Post, Itri, Ebubekir Agha, Sultan Mahmud II. While important books on music theory had remained in the Topkapi Palace Library, the most song-text collections were delivered to the newly established Yildiz Palace. The Yildiz Palace manuscript collection was later transferred to the İstanbul Üniversitesi Nadir Eserler Kütüphanesi, after the establishment of the Turkish Republic.
This catalog includes manuscripts at the İstanbul Üniversitesi Nadir Eserler Kütüphanesi. The catalog incorporates those manuscripts which are catalogued under Ibnulemin Collection, which is also preserved in the same library. Istanbul University Library contains 19,864 manuscripts: 9943 manuscripts in Turkish language, 6967 in Arabic, 1618 in Persian, and 81 in various languages, and the 1255 manuscripts in the Ibnulemin collection. While researching for the Catalog of the Music Manuscripts in the Istanbul University, I went through library index cards following any terms related to music. After that I also investigated all miscellaneous compilations as well as all poetry collections in order to identify texts related to music in those. When I realized that a manuscript that was catalogued as a versified hadith collection is in fact a lyrics codex, I investigated all manuscripts that preserve verse texts. In the end, for the Catalog of Music Manuscripts in Istanbul University Library I ended up scanning through almost 8500 manuscripts in order to identify those texts related to music.
The Catalog of Music Manuscripts in Istanbul University Library presents the descriptions of music manuscripts under seven headings: 1. Works on music and dance; 2. Theory and method related works; 3. Lyrics codices: a. “Fasil” compilations, b. Popular Song compilations, c. Mawlawi ayin-i sherif’s lyrics compilation, d. Hymn compilations; e. Miraciyye compilations 4. Composition notebooks; 5. Biographical dictionaries of musicians; 6. Various topics; 7. Works found in miscellaneous compositions. Under these titles 383 works are described. Four of those include discussions on religion, music and dancing, 11 on music theory, 70 various lyrics codices, 4 composition notebooks, 6 biographical dictionaries and 286 manuscripts that contain chapters or sections that are related to music. The oldest dated work among those is a theoretical work on musical modes Zeynü’l-Elhân fî İlmü’t-Te’lîf ve’l-Evzân which is dated 1484.
The Catalog of Music Manuscripts in Istanbul University Library reflects only a small portion of music manuscripts produced and/or preserved in Turkish manuscript libraries. My hope is that it will benefit researchers whose research relate to the field of Ottoman music.

The change of “traditional” music patterns transformed forms according to the new, rational world vision of the 20th century made permanent with the signature of the composers. Especially, composition for a string instrument filtered the entire sociocultural and musical past of the collective music memory, attributing new meanings to the individual and highlighting individuality; with instrument accompanying voice in a performance earning the former a soloist position. Individuality
referred to as a desire to be distinct from others, to have a unique attitude, to express or tell something different falls within a period in which an era was dying out while a new one was yet to be born. It’s an age in which the individual starts to have a bigger say in oneself, develops their boundaries, increases their personal freedom with an assertive “Count me in” attitude, constructing more with written
text than oral expression. All of these elements help the individual self-actualize with self-governance and reflection within the potential for autonomy that is a product of one’s social environment. Music becomes a major channel of expression bearing social discourse which enables
the individual to express with something unheard of their own journey of
efforts for evolution and awareness thanks to their own talent and creative act. On the social course of modernization, music will renew itself on a different execution practice. This is a novelty in the history of musical execution as well. Tanburi Cemil Bey and Şerif Muhiddin Targan occupied a singular position public life. These two virtuosos built a micro space of music with their own skills and geniuses, maintaining a certain type of invisible aesthetical structure made of sounds independent
from time and society they belong to and in conflict with current general tastes. Creators of style and school for ancient string instruments such as tanbur, kemençe and oud from Ottoman-Turkish musical territories, these virtuosos started to give concerts beyond musical assemblies and lodges, paving the way for a change in not only composition but execution as well. Thanks to gramophone records documenting
the sounds of history, especially their improvisations and compositions; they joined their methods between the past, present and the future with sound, as it were. This paper will focus on the reasons why virtuosity elements started to be incorporated into execution technique, with sociocultural analyses in the examples of Cemil Bey and Şerif Muhiddin Targan who laid the musicological foundation of the great development of execution in the 20th century.

The living traditions of monodic Orthodox chant were going through innovations, as the music theory and its notation were created starting from 1814. They are the results of a reform finished under the third generation or the “4th music school of the patriarchate” (Istanbul). The reformers, who were called “the three great teachers”, had close relationships with musicians at the Ottoman Court, with musicians belonging to Sufi brotherhoods, and with synagogal singers—a context which Rudolf Maria Brandl called 1989 the Levantine community of traditional musicians (“The Music of the Fanariots”).

The paper is about the performance practice of Greek-Orthodox singers and is focused on the various forms of the diatonic (papadic) ēchos barys, as they can be found in the living tradition today. It is also an attempt to trace back the theoretical concept of this mode and to answer the question, to what extent the reformers were inspired by traditional musicians of the Levant.

This book is a collection of 5 essays. The first is an introduction into the basics of chant transmission, the modal framework within the eight-mode system, differentiated according to Western and Eastern chant genres. The second is an introduction into the labyrinth of the eight-mode system, which was used for a musical art of memory in Byzantine chant. The third analyses the embellished design of a traditional chant: a hymn for St. Peter taken from the Byzantine sticherarion and from the Roman antiphoner, and its elaboration in monodic kalophonia and polyphonic organum.

A second part is dedicated to two living chant traditions: The fourth essay describes the integration of makamlar among Greek church singers of Istanbul, and the final essay is a portrait of two important singers of the Bulgarian Orthodox tradition.

The Mahur sound which is one of the determinative colors of today's Turkish music has been an aesthetic fact, towards which musical composers, who lived in different societies and periods, approached with their own specific manners. The motives forming the shape of this aesthetics are individual existences establishing relationships with the said social-periodical facts. Abdülbâkî Nâsır Dede (1765-1821), Hâşim Bey (1815-1868) and Hüseyin Sadettin Arel (1880-1955) who proved their existence with their musical creations and thus, could make visionary moves, defined the Mahur maqam with their unique nuances. Nâsır Dede approached to the Mahur maqam in the mysterious world of lahn (errors of speech) which belongs to the world of meanings of Yenikapı Mevlevihane and in this context, arranged the relationships of musical intervals according to the features of tune structures determined by masters of music. Haşim Bey approached to the Mahur maqam within the musical expression style of Western culture which was began to be understood and compared by the individuals of Tanzimat Reform Era. Accordingly, the Mahur maqam corresponds to the sol major in the European style in a sense. In this context, according to Hüseyin Sadettin Arel, the Mahur maqam is similar to major, but as different from major it is a structure dominated by Çargah tunes containing T-T-B-T intervals. For Arel, the said intervals are musical materials which can adapt to modern mind and emotion definitions of nation-state citizens of the Republic. In this respect, the Mahur maqam constitutes a structure having different effects other than the effect area of major. Arel, thus, claims that Turkish music has its own national materilals which are candidate for universality such as Çargah, Buselik, Kurdi, Rast, Uşşak, Hicaz obtained from the nature against the major-minor of the West. Through the article study, the Mahur maqam is questioned intellectually interacted with the perspectives where historicity begins to form which includes society and individual facts in the the triangle of said people's creations.

In the Early Republican period, several strategies were employed to exclude the Ottoman music tradition from the field of cultural legitimacy. However, the attempts to exclude this music completely from the social life through prohibitions and impositions did not succeed. On the other hand, Ottoman music was metaphorically put in the museum as it were an historical artifact. These official practices were accompanied by a “museumising” discourse derogating the Ottoman music as an obsolete historical remnant which was not able to continue its vitality and even existence. Just at the same period, the Ottoman music circles  brought forward the historical value of this music in order to extent its field of legitimation. This coincidence created a harmony between these two strategies. Our article, inspired by Bourdiue’s analysis of discursive practice, analyses the ways of articulations between these two discourses.

Türk musikisi icra geleneğinde ney çalgısı ölçülerinden hareketle bir akort sistemi haline gelen oniki ahenkten ancak dördü, üç telli klasik kemençenin akordunda değişiklik yapılmadan seslendirilebilmektedir. Bolahenk, Sipürde, Kız ve Mansur adlarındaki bu ahenklerin rahatlıkla kullanılabilmesi, çalgının yaklaşık iki buçuk oktavlık ses sahasından icra tekniğine yansıyan sınırlılık nedeniyle ancak mümkün olabilmektedir. Klasik kemençede seslendirilmesi güç olan ahenklerin kullanılması akordun ve ses sahasının yetersiz kalmasına bağlı olarak tercih edilmemektedir. Söz konusu ahenkler, diğer Türk müziği telli çalgıları tarafından da icra tekniğinde benzer nitelikte güçlükler oluşturmaktadır. Bu duruma çözüm olarak bazı ahenkler için çalgıların akortları değiştirilerek icra tekniği daha rahat olabilecek yollara başvurulmaktadır. Benzer şekilde, klasik kemençede de icrası zor olan ahenklerin daha rahat seslendirilebilmesi için akortta yapılabilecek değişimler ve önermeler, bu çalışmanın amacını oluşturmuştur. Makamların karar perdelerine göre söz konusu ahenklerde çalgının pozisyon kullanımı farklılık gösterdiğinden, bu çalışma en fazla kullanılan makamlar arasından rast ve dügâh perdelerinde karar veren makam dizileriyle sınırlandırılmıştır. Çalışma kapsamına alınan makam dizilerinin hangi ahenklerde kolay ve zor seslendirildikleri tespit edilerek, aralarından zorlukla icra edilenler için iki tip yeni akort önerisiyle çözüm aranmış; tüm tellerin eşit oranda yarım ses pestleştirilmesi ve sadece kalın telin bir/bir buçuk ses pestleştirilmesiyle önerilen yeni akortlarla, kolaylıkla seslendirilebilecek altı ahenk tespit edilmiştir.

Modernization; developed by Western sociologists, which describes economic development, socio-cultural diversity, understanding and realization of the democratic process of social change, with the stages of "traditional society", "transitional society" and the "modern society", is a concept. The modernization in Music can be defined that the traditional approach is replaced by an understanding of polyphonic music that forms the basis of Classical Music. This condition is also a Western understanding of traditional music with a universal quality gain. It has been seen that The modernization in Turkish Music began after Reform movements ( Tanzimat Fermanı in Turkish ), prior to the Republic of Turkey, and there was a significant acceleration in the Republican period . After the establishment of the Republic, some institutions were opened to realize these music movements and some music scholars were sent abroad. Training programs, based on polyphonic music, also has been applied. Being restructured of new music institutions and existing music institutions was carried out by having been taken music scholars from abroad. In the early years of the Republic, as in other areas of music policies, it was concluded that the synthesis of Western and Turkish cultures, and music systems was the basic policy and the modernization process in Music ranged.
Modernleşme; batılı sosyologlar tarafından geliştirilen, ekonomik kalkınmayı, sosyo-kültürel çeşitliliği, demokratik anlayışı gerçekleştirme ve toplumsal değişme sürecini; “geleneksel toplum”, “geçiş toplumu” ve “modern toplum” aşamaları ile açıklayan bir kavramdır. Müzikte modernleşme ise geleneksel yaklaşımın yerini Klasik Batı Müziği’nin temelini oluşturan çoksesli bir anlayışa bırakması olarak tanımlanabilir. Bu durum aynı zamanda geleneksel müziğe batılı bir anlayış ile evrensel bir nitelik kazandırılmasını beraberinde getirmektedir. Türkiye’de müzikte modernleşme hareketlerinin Cumhuriyet öncesinde Tanzimat Fermanı’ndan sonra başladığı ve Cumhuriyet döneminde ciddi bir ivme kazandığı görülmektedir. Cumhuriyet’in kurulmasından sonra bu müzik atılımını gerçekleştirecek kurumlar açılmış, bazı müzik adamları yurtdışına gönderilmiştir. Ayrıca çoksesliliği temel alan öğretim programları uygulanmıştır. Yurtdışından müzik insanları getirilerek mevcut müzik kurumlarının ve yeni açılan müzik kurumlarının yapılandırılması gerçekleştirilmiştir. Cumhuriyet’in ilk yıllarında müzikte modernleşme hareketlerinin, müzik politikalarının diğer alanlarda olduğu gibi değişkenlik gösterdiği, temel politikaların ise Batı ile Türk kültürlerinin ve müzik sistemlerinin sentezlenmesi fikri üzerine geliştiği sonucuna ulaşılmıştır.

Ruhi Kalender Cumhuriyet döneminde Türk Din Musikisi alanında hizmetleriyle tanınmış önemli şahsiyetlerden biridir. Bu alanda bir çok kitap yazmış ve öğrenci yetiştirmiştir.Tezde Kalender'in hayat hikayesi kendi ifadelerinden yola çıkılarak aktarılmaya gayret edilmiş, kendisi ile ilgili basında çıkan yazı ve haberler teze aktarılmıştır. Eserleri okuyucuya aktarılmıştır. / Ruhi Kalender is one of the most prominent persons who has known with his attempts in the field of Turkish Religious Music of the republican era. In this field he wrote some boks and tought many students.In the thesis the biograpy of Kalender has been narrated mainly through his own explanations and the news and articles about him issued in the pres have been directly used during the thesis.

Ruhi Kalender, Türk Din Mûsikîsi alanında önemli hizmetler vermiş, birçok talebe yetiştirmiş, bu alanda çalışmalar yapmış önemli dinî mûsikî hocalarından biridir. 78 yaşında olan Ruhi Kalender bu yaşına rağmen bir köşeye çekilmeyip, emekliliğini müteakiben Ankara Üniversitesi İlahiyat Fakültesi’nde doktora ve yüksek lisans dersleri vermeye devam etmektedir. Uzun yıllar dinî mûsikî ile iştigal etmiş bir kişinin elbette bu alanda önemli düşünceleri ve tespitleri olacaktır. Bu tespitler ise araştırmacılar ve alanla ilgilenenler için bir kaynak niteliği taşımaktadır. Bu makalede, Ruhi Kalender’in mûsikî hakkındaki görüşleri, eserlerinden ve kendisi ile yapılan röportajlardan yararlanmak sureti ile bir araya getirilmiştir. 
Ruhi Kalender is one of the religious music masters, who provides important services in the field of Turkish Religious Music, educates many students and makes many academic studies. Although he is in his 78, he doesn’t retire, and still lectures Phd and master classes in Ankara University Seminary. For a person who occupies oneself with religious music it is natural that he has many thoughts and evaluations. Hence, his studies are crucial resources for us who make researches and engage in this field. Therefore, this article is worked on by using the opinions of Ruhi Kalender about music, his works and interview records which are made with Ruhi kalender and lasts six months.

Samuel Benaroya was perhaps the last representative of a 400-year-old tradition of Turkish Jewish cantors who were experts in the singing of liturgical music according to Ottoman court music, said Edwin Seroussi, Professor and Director of the Jewish Music Research Centre at The Hebrew University of Jerusalem. Samuel Benaroya had died in 2003, but recordings made during the late 80s and early 90s document an art, whose tradition has nearly disappeared today.

During the 19th century, Edirne had become the most important center of this Maftirim tradition. The famous anthology “Shirei Israel be-Eretz ha-Qedem”, printed at Istanbul in 1921, was mainly a printed edition of the Divan used by the Maftirim of Edirne. The Ottoman Divan sorts all songs according to the tunes of the makamlar, but there were not only Turkish divans, but also those in Greek, Armenian, and Hebrew language.

Makam sabâ:
1. Moshe
- Semai Aǧir "Meleḵ Mêšarîm"
2. Abraham Bar Shlomo Hayyun
- Semai Aksak "Ezkôr Ḥasdê El Ne'eman"
3. Israel Najara (ca.1555 – ca.1625)
- Semai Yürük "Yôm El Qeren `ammo Nasā"

Makam beyâti:
4. Anonym
- "Yishlach Mishamayim"
İzak Algazı Efendi, chant
5. Bekhor Papa (Poetry), Moshe Cordova (1881-1967) (Music)
- Beste "`Ûri `ûri"
Samuel Benaroya, chant
6. Hammamizade İsmail Dede Efendi (1778-1846)
- Merhabâ "Bir gonca femin yâresi vardır ciğerimde"

7. Samuel Benaroya over zijn weigering ghazzan te worden
Interview met Dr. David Raphael.

Makam hicaz:
8. Israel Najara (ca. 1555 – ca.1625)
- Peşrev Semai "Yaẓa Ẓîẓ Va-Yimmal"
9. Hayyim Bejerano
- Yürük Semai "Ḥaddeš Ke-Qedem Yamênû"

Makam sehnaz:
10. Yaacov Amron
- Peşrev "Ye`erav Leḵa Adônay Elohênû"
11. Israel
- Semai Aǧir "Yafah, Ḥišqeḵ Yiv`ar"
Aharon Alidi
12. Peşrev Aksak Semai "Avî Ram Big-Gevûrah"
13. Şarki "Adônay Hû Elohênû"

Makam segah:
14. Israel Najara, music by Yusuf Paşa (1821-1884)
- Peşrev "Yehemeh Levavî"
15. Israel Najara, music by Moshe Cordova
- Beste "Yah Qadôš Yôšev Tehillôt"
16. Eliyah
- Semai "Et Ḥoškî Ha'er"
17. Yehuda
- Yürük Semai "Yismaḥ Har Ẓiyyôn"

Makam hüzzam en nikriz:
18. Abraham
- Semai Aǧir "Elî Maher Haẓẓilenû"
19. Israel Najara
- "Yavô' Dôdî Le-Gan `ednô"

Samuel Benaroya, chant
Anthology of Music Traditions in Israel
(AMTI  9803, 1998)

nr 04:
İzak Algazı Efendi (1889-1950), chant
(Odeon Records LA 202784, 1929)

İsminden de anlaşılacağı gibi Kitâbü Keşfü'l-Hümûm ve'l-Kürab fî Şerhi Âleti't-Tarab (Musikî Yoluyla Dert ve Tasanin İzâlesi -  Mûsikî Âletlerinin Şerhi) mûsikî âletleri üzerine te’lif edilmiş bir eserdir. Ana başlıklar halinde yedi çalgıya yer verilir. Fakat bunların haricinde on çalgı hakkında daha bilgi bulunmaktadır. Ayrıca eserde bu çalgıları icat edenler, etimolojik bilgileri, fiziksel yapıları, meşhur icracıları, icra ediliş şekilleri, fıkhî hükümleri ve icra edildiği mekânlar hakkında bilgilere yer verilir.  (As the name suggests, Kashf al-Humûm is written about musical instruments. There ise seven instruments in the book’s main title. But it has information about from another ten instruments. Besides it has explanation about people who invented the instrument, etymological information, physical structure, famous performers, how it is performed, religious provisions and where it is performed. )

Türk Musikisinin önde gelen bestekârlarından biri olan Hâfız Post hakkında yapılan çalışmalar gayet sınırlıdır. Bu duruma Hâfız Post ile ilgili elde mevcut tarihi vesikaların az oluşunun sebebiyet vermesi bir gerçektir. Hâfız Post’un günümüze ulaşabilmiş bestelerinin haricinde kendisine ait olduğu bilinen üç güfte mecmuası bulunmaktadır. Hakkında yapılan çalışmalar genellikle bu mecmualar referans alınarak vücut bulmuştur. Bu üç mecmua haricinde ilk defa Hâfız Post’a ait olduğu tarafımızca tespit edilen bilinmeyen bir mecmua bu makalede tanıtılacak ve Hâfız Post’un hayatı ile ilgili bilinmeyen bazı bilgiler verilecektir.
Researches on Hâfız Post one of the foremost composers of Turkish Music is very scarce. This is most caused by the insufficient historical data about Hâfız Post. Other than his compositions there are also three lyric/Gufte mecmua which are also composed by Hâfız Post.  Researches on  Hâfız Post are mostly based on these mecmuas. A mecmuaother than these  three mecmuas that has not attracted attention in this regard, which seems to belong to Hâfız Post, will be introduced to this article.Some information about Hâfız Post’s life and scientific personality that has not surfaced in the day wil also be given in the article

If the history of Patriarchal Chant at Istanbul was based on the medium of sound recordings, it would have to start with the Arhon Protopsaltes Iakovos Nafpliotis. He was the first Orthodox chanter, whose art was documented systematically, when the idea of creating a sound record by a needle writing on wax was quite new.

Playlist:

1) Divine Liturgy
1. Ton despotin, Echos Varys (IN)
2. Kyrie eleison, Echos Devteros (IN)
3. Georgios of Crete: DynamisTrisagion, "Holy God, Holy Strong, Holy Immortal" Echos Devteros (IN)
4. Gospel, Echos Tetartos (phthora nisabur) (IN)
5. Cherouvikon Οἱ τὰ χερουβὶμ μυστικῶς εἰκονίζοντες ("We who represent mystically the cherubim"), Echos Protos (KP)
6. Σε ὑμνούμεν ("With hymns"), Echos Plagios Tetartos (KP)
7. Ἄξιον ἐστίν ("Truly, it is right"), Echos Devteros (IN)

2) Stichera
8. Iakovos the Protopsaltes (transcr. by Georgios of Crete, Late Byzantine Notation & Chourmouzios the Archivist, Neobyzantine Notation): Long Doxastikon (Sticheron with Doxa) Ἀτενίσαι τὸ ὄμμα ("Looking in the eyes of heaven") (3rd Lenten Sunday, Triodion), Echos Plagios Tetartos (IN)
9. Doxastikon Ἀναστάσεως ἡμέρα ("On the day of resurrection") (Easter), Echos Plagios Protos (IN)
10. Doxastikon Σήμερον προέρχεται ("Today comes") (14 September, Exaltation of the Cross), Echos Plagios Devteros (KP)

3) Heirmoi
11. Χριστός γεννάται ("Christ is born") Slow Heirmos for the 1st Ode (Christmas Canon), Echos Protos (IN)
12. Konstantinos Pringos: Ἄξιον ἐστίν, Echos Plagios Protos (phthora atzem kiourdi) (Kostas Charalampopoulos)
15. Πάσαν τὴν ἐλπίδα μοῦ ("All my hope"), Slow Heirmos, 1st Ode (Akrostichon Theotokos), Echos Devteros (IN)
16. Petros Bereketes: Heirmos kalophonikos about the same ode, Echos Varys (KP)
[15. Troparion of Kassia (Doxastikon, Maundy Thursday), Echos Plagios Tetartos (KP)]

Türk musikisi repertuar tarihini aydınlatabilmenin en başta gelen yolu, güfte mecmualarını derinlemesine incelemektir. Türkiye ve dünya kütüphanelerindeki binlerce yazma ve Osmanlı devrinde basılan yüzlerce matbu güfte mecmuası göz önüne alındığında ise bu işin ne kadar çetin olduğu anlaşılır. Sadece İstanbul kütüphanelerinde benim tesbit edebildiğim mecmua sayısı 500'ü geçmiştir. Bu tablo, eminim ki kıymetli okuyuculara bu işin ne denli zor olduğunu göstermeye yetecektir.

Müzik sosyolojisi alanında çalışanların görevlerinden biri, beğeni hiyerarşilerinin hangi tarihsel-toplumsal bağlam içinde oluştuğunu, nasıl ifade edildiğini, hangi söylemlerle meşrulaştırıldığını, bu meşruluğun hangi kurumlarla pekiştirildiğini ve hangi sosyal çıkarlarla ilişkili olduğunu açığa çıkartmaktır. Klasik müzik kategorisinin icat edilmesi ve kurumsallaştırılması, Batıda ve Türkiye'de farklı bağlamlar içinde gerçekleşmiştir. Batıdaki sınıf temelli beğeni hiyerarşilerinin aksine, Türkiye'de müzik alanında birçok sınıflandırmanın kaynağı Batılılaşma sürecinin yol açtığı meşruiyet bunalımıdır. Klasik Türk müziği kategorisi, Batıcı elitler tarafından dışlanan bir müziğe itibar kazandırmak için bir sınıflandırma stratejisi olarak kullanılmıştır. Bir meşrulaştırma stratejisi olarak önemli başarılar kazanan bu stratejinin olumsuz yönüyse Türk müziğinin yaşayan gelenekle bağlarını zayıflatması ve onu arkaikleştirerek adeta müzelik hale getirmesidir.
Abstract
One of the main tasks of the music sociologist is to reveal the socio-historical context of the hierarchies of taste. This includes attempts to reveal in which forms these hierarchies are expressed, through which discourses they are legitimized, how these discourses are reinforced in institutions and with which social interests they are connected. The invention of the category of classical music in the West and Turkey is the product of different socio-historical contexts. Unlike the class-based hierarchies of taste in the West, the main classifications in Turkish music are rooted in the crisis of legitimacy caused by the Westernization process. The category of classical Turkish music has been employed as a classification strategy by Westernizing elite and their dissidents for different reasons. Turkish music circles have succeeded in giving Turkish music some prestige in official institutions through this classification strategy. However, through the same category, the Westernizing elite archaized and museumized Turkish music which is in fact a living tradition rather than a museum object.

Abstract:  The late period Ottoman intellectual and writer, Aḥmad Ṣāfī’s one of the extant works is an encyclopedic study consists of eighteen volumes. The original copy is lost but there is a microfilm record at Suleymaniye Manuscript Library. Apart from a few book reviews, this work has still not attained enough attention from researchers. In this article, we examine a section on music in Safīna al-Ṣāfī. This chapter is about the oud and its history, its process of making, and the fifth string that is added to oud later. When examining the subjects and the way that Ahmed Safi dealt with in his work, it has been seen that he made quotations from some works. There are some mistakes in the information given, both historically and theoretically. We have discussed these issues in turn with the following and have subject to some criticism. Some of the incomplete and incorrect information contained in the previous works together with a number of different topics are found because of the historical importance.
Summary: Aḥmad Ṣāfī was born on 24 February 1851 in his family house around Bahçekapı in Istanbul. His father, who was a state manager, was Sayyid İbrahim b. al-Hâj. Aḥmad Ṣāfī studied the Qur'ān and the Tajwīd in primary school in Bahçekapi and continued his education at Vâlide Sultan Rushdiyya school. He lived in Anatolia and Rumeli due to his father's duty. He began his official life in November or December 1865 in loan department of state treasury. Later, he learned Arabic from Tokatlızâde Hacı Ahmed, and Persian from Mirza İsmail.

Although he retired in 1913 having worked at different office jobs, he had short-lasting jobs in the following years. A year before his death, he taught Mesnevi at Uzbeks Dergāh, which was opposite the Sokollu Mehmed Pasha Mosque in Dizdariye on Friday nights. Meanwhile, He also gave Persian lessons to those who demanded to learn. He died in 1926 in the house of İbrahim Bey, who was his son.
In our work, we used the digital copy of Aḥmad Ṣāfī's work in the number of 2096 of Suleymaniye Library's Manuscript Department's Microfilm Archive. The inner cover of this copy contains the following statement: “Safīna al-Ṣāfī, Aḥmad Ṣāfī, Cerrahpasa Medical History Institute, 210 x 150 mm, İstanbul, Suleymaniye Library Microfilm and Photocopy Service December 1972 - February 1973.” In addition, in some volumes the inscription "Institute of Medical History Library" was recorded. However, in today's scans, the original copy of this work has not been found. From these records, it was understood that the microfilm was shoot by Suleymaniye Library between December 1972 and February 1973.
Consisting of eighteen volumes, the work contains encyclopedic information on various topics. The work, which is a manuscript, was written with the Ottoman period alphabet. There is no detailed study on Safīna al-Ṣāf and the only study on its contents belongs to Necdet Tosun. In that study titled "Kültür Tarihimize Işık Tutan Mühim Bir Kaynak: Safīna al-Ṣāfī ", the content of the work dealt with the volumes in connection with the topic titles, after information about the author and his work was given.
There is an independent title on music in three places in the work which is the subject of this study. The first of these is the section titled "oud from musical instruments" is between the pages of 1187 and 1196 in volume X, the section of "The performance of the music performance" is between the pages of 1226 and 1235 in volume XI and the part of “relation of music science to astronomy” is on the pages of 2990 and 2993 in volume XVIII. Aḥmad Ṣāfī began to write volume X of his book in February 1916. When it is considered that the next volume was written in August 1916, it can be said that the part which was examined in this study was written in 1916.
Aḥmad Ṣāfī expresses that he uses three names in his work. These are al-Fārābī (d 950), Abd al-Qadir Merāgī (d. 1435) and Ladikli Mehmed Çelebi (d. 15th century). He also makes quotations from al-Fārābī's work titled Kitāb al-Mūsīkā al-Kabīr. This is important to our view due the fact that these were obtained through rumor and based on the information in the book and the writers had never seen the work of al-Fārābī although al-Fārābī, was mentioned as a source in many of the works written in the Ottoman period. In this sense, the scientific principle draws attention in Aḥmad Ṣāfī's work style. Along with this fact, Aḥmad Ṣāfī offers some contradictions by taking some wrong information into his work. For example, Aḥmad Ṣāfī attributes the fifth string which is added to the oud to al-Fārābī, However, this string started to be used in the Arab world at least a century ago. Another wrong evaluation of Aḥmad Ṣāfī was that he claimed that the sixth string of oud appeared in the 15th century.
It is important that Aḥmad Ṣāfī creates a small dictionary of pieces of oud in his work as we cannot see this kind of explanation in previous works. By being aware of this fact, he expresses that he offers new information to the readers, indicating that such words are not even found in dictionaries.
We do not know why the author produces a chapter on merely the oud. Why did he choose the oud among many instruments? Why did he deal with oud history and structure instead of giving information about music theory and history? Such a question would be easy to answer for the works written before the 15th century as the oud was the basic instrument through which the theory of music was explained to this century. However, when it came to the 20th century, the oud had already lost its feature especially in the Ottoman territory. Nevertheless, based on his own statements, we can think that he made such a choice because he mentions the works of the theoreticians such as al-Fārābī, Merāgī and Ladikli. In our opinion, one of the most important points in this title is the explanation of the terms and phrases about the parts of oud. As the author says, this is information which is not found in dictionaries, and it is valuable at the thought that there is still no comprehensive music dictionary today.

The goal of the early republican elite was to form a new national identity supporting
westernization and the consciousness of secular Turkishness while excluding the Ottoman-
Islamic legacy as much as possible. Turkish History Thesis was, above all, an ideological
instrument for supporting and legitimizing these objectives. The influence of the Turkish
History Thesis on music debates of the early republican period is reflected by the arguments
on the Central Asian and archaic Anatolian origins of Turkish music, the alleged impact of
this archaic Turkish music on the other great music traditions of the world such as Western
music and the famous pentatonism thesis. In these debates, the Turkish History Thesis has
been employed as an ideological instrument rather than a scientific explanation. The
ideological background underlying the Turkish History Thesis and its various extensions in
the field of music has dominated not only the official view but also the oppositional discourse,
despite its weak scientific basis. This fact points to the extent of ideological hegemony
exercised by the dominant cultural discourse on the oppositional one and also presents a good
case of how the survival strategies of the oppositional culture against the attacks of an official
discourse pave the way for the internalization of this dominant discourse by it.

Israel and Turkey are, no doubt, the vivid centers of popular music cosmopolitanism. Both realities are interesting and puzzling at the same time, reflecting their challenging geography and history. To name their geographical location as Asia or Europe, the Mediterranean region or the Middle East evokes ideas and contexts, not free from political or stereotypical judgments. Popular music and its products - songs tell the stories of people and their culture. But they are also one of the best and most efficient tools of political engineering and creating cultural identity and national particularity.
Resemblances between Turkish and Israeli popular music of the last couple of decades are stunning. They are far more than the idea of a shared Mediterranean vibe of nightclubs, taverns, and casinos with dinner, music, and belly dancers. The mechanisms behind the creation of popular Turkish and Israeli music, from the 60s until the 2000s, reflect striking correlations in the process of re-establishing identities with exclusions and inclusions of specific cultural patterns.
As usually in my work, I will let the women speak and present the fascinating story of adaptations and sources in Turkish and Israeli music. No music is apolitical and naive. I will try to trace the essential contexts - including musical, religious, ethnic, and political ones. Following Marshall McLuhan's famous statement that the medium is the message, "A Drop of Luck" also explores a story of a medium – vinyl, cassette, and CDs and their impact on societies through mass-production and distribution of music and cultural messages. The invention of a portable cassette recorder was a political and social breakthrough for many communities worldwide.

Hayatı net olarak bilinmeyen Yusuf Kırşehri'nin 1410'da yazdığıeserin arka planını araştırıken, hayatı hakkında ortaya çıkan panoroma ışığında durum. Hayatı hakkında yeni söylenebilecek bilgiler. Eserini ilk tercüme edenler, yazdıklarını takip edenler ve ekol haline gelişi. Anadolu müzik tarihinde Yeni Sistemciler ekolünün meydana gelişi.