Greek modes and Turkish sounds . Music as a means of intercultural exchange between Orthodox Christians and Muslims in the Ottoman Empire (original) (raw)
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2015
Post-Byzantine musical manuscripts constitute a very important written source for the secular music of the Middle East. We find in them a rich quantity of material, over a long period, a multitude of genres comprising, the echoi (modes), makams and usûls, together with the names of composers and other information. This source material covers a time span that ranges from the end of the 14th century to the beginning of the 19th, or circa 1830 when there appeared the first printed collection of secular music. Petros Peloponnesios (1740-1778) is considered one of the leading personalities of ecclesiastical music, with a variety of narrations dealing with his legendary life. He served in high music positions in the Ecumenical Patriarchate of Constantinople (Domesticos (1764-1771) and Lampadarios (1771-1778)), whereas recent research has revealed more and more clues which prove that he was a great personality in terms of 18th century secular music in Constantinople, both as performer (ney and tambur), composer, and scribe of codices.
In this study using the research material except bibliographic study comes from the process of the fieldwork, the music system of Armenian sacred music compares to another tradition, that of the Byzantine music. While talking about two religious musical traditions which are tenets of Christianity, the differences are apparent after separation and thus the evolution followed different paths in recent centuries. On the other hand, the oral tradition and listening gives them the feeling that they are often the same musical tradition since the similarities are obvious. Finally, with the help of technology will become quote comparative study through analysis of audio examples from computer. These analyzes indicate mainly the differences and similarities between the two musical traditions in terms of musical intervals. Keywords: Byzantine music, Armenian music, comparison. ISTANBUL TECHNICAL UNIVERSITY - INSTITUTE OF SOCIAL SCIENCES Dr. Erol Üçer Centre for Advanced Studies in Music (MIAM)
In this study using the research material except bibliographic study comes from the process of the fieldwork, the music system of Armenian sacred music compares to another tradition, that of the Byzantine music. While talking about two religious musical traditions which are tenets of Christianity, the differences are apparent after separation and thus the evolution followed different paths in recent centuries. On the other hand, the oral tradition and listening gives them the feeling that they are often the same musical tradition since the similarities are obvious. Finally, with the help of technology will become quote comparative study through analysis of audio examples from computer. These analyzes indicate mainly the differences and similarities between the two musical traditions in terms of musical intervals. Keywords: Byzantine music, Armenian music, comparison. ISTANBUL TECHNICAL UNIVERSITY - INSTITUTE OF SOCIAL SCIENCES Dr. Erol Üçer Centre for Advanced Studies in Music (MIAM)
In this study using the research material except bibliographic study comes from the process of the fieldwork, the music system of Armenian sacred music compares to another tradition, that of the Byzantine music. While talking about two religious musical traditions which are tenets of Christianity, the differences are apparent after separation and thus the evolution followed different paths in recent centuries. On the other hand, the oral tradition and listening gives them the feeling that they are often the same musical tradition since the similarities are obvious. Finally, with the help of technology will become quote comparative study through analysis of audio examples from computer. These analyzes indicate mainly the differences and similarities between the two musical traditions in terms of musical intervals. Keywords: Byzantine music, Armenian music, comparison. ISTANBUL TECHNICAL UNIVERSITY - INSTITUTE OF SOCIAL SCIENCES Dr. Erol Üçer Centre for Advanced Studies in Music (MIAM)
12. Uluslararası Hisarlı Ahmet Sempozyumu, 2022
Doğu Roma/Bizans İmparatorluğu, İmparator Konstantin’in MS. 330’da tek bir bayrak altında topladığı Doğu Akdeniz ülkelerinden oluşan bir coğrafyada teşekkül etmiştir. Bizans müziği de (Βυζαντινή μουσική) Doğu Roma İmparatorluğu’nun müziğidir. İstanbul (Konstantinopolis) merkezli olan ve inanç temelli gelişen bu müziğin tarihsel açıdan önemi Doğu Avrupa Ortodoks Kilisesi’nin yani Rus, Sırp, Bulgar, Rumen ve Yunan kiliselerinde söylenen dinî şarkıların ortak kaynağı olması ve günümüz Ortodoks kilisesi müziğinin de temelini oluşturmasıdır. Bu anlamda, Doğu müziğinin kendine özgü niteliklerini sürdüren monofonik (tek sesli), ezgisel ve ehos/makam temelli bir yapıyla günümüze değin süregelmiştir. Bir diğer konu ise, Bizans müziğinin Antik Yunan müziği ile olan kültürel ilişkisidir. Bizans kilise müziğinin, Antik Yunan müziğinde olduğu gibi edebiyat kalıplarından önemli ölçüde etkilendiği bilinmektedir. Diğer yandan, genel olarak diyatonik temelli bir ses dizisinin Bizans müzik kültüründe her dönem hâkim olduğu ve bu dizi üzerinde ortaya konulan organizasyon mantığının Antik Yunan müzik kültürü ile aynı özellikleri taşıdığı da söylenmektedir. Buna ek olarak, Antik Yunan döneminde olduğu gibi yoğun bir müzik teorisi araştırmasına Bizans döneminde rastlanmamakta; Antik Yunan müzik teorisi geleneğinin sürdürülerek, metinsel ve eğitsel olarak ele alındığı da görülmektedir. Halen güncelliğini koruyan problemlerden bir diğeri ise, Antik Yunan uyum bilimi (Armoni) ile Bizans müzik teorisinin (özellikle bunların arasında Antik Yunan’daki oktavın bölünümü, türleri ve cinsler gibi konular ile Bizans’daki sekiz mod/oktoehos sistemi) arasında doğrudan bir bağlantı olup olmadığı ve Bizans’ın müzik teori pratiğinin Doğulu bir kaynaktan yararlanan yepyeni bir başlangıç noktası taşıyıp taşımadığı sorusudur. Bu çalışmada, doğu müziğinin kendine has özellikleri dikkate alınarak Bizans ve Antik Yunan müzik teorileri arasındaki ilişki bazı örnekler üzerinden ifade edilerek, Bizans müziğinin kökenleri hakkında daha zengin bir anlayışa ulaşılması amaçlanmaktadır. _________ The Eastern Roman Empire was formed in a geography consisting of Eastern Mediterranean countries, which Emperor Constantine gathered under a single flag in 330 AD. The historical importance of Byzantine music, which is based in Istanbul and developed on the basis of faith, is that it is the common source of the religious songs sung in the Eastern Orthodox Church, that is, the Russian, Serbian, Bulgarian, Romanian and Greek churches, and forms the basis of current Orthodox church music. It has continued until today with a monophonic, melodic, and echo/maqam based structure that maintains the distinctive features of Eastern music. Another issue is the cultural relationship of Byzantine music with Ancient Greek music. It is known that Byzantine church music was significantly influenced by literary patterns, as in Ancient Greek music. On the other hand, it is also said that a diatonic-based sound scale dominates the Byzantine music culture in every period and the organizational logic put forward on this series has the same characteristics as the Ancient Greek music culture. In addition, there is no intensive research on music theory in the Byzantine period as it was in the Ancient Greek period; It is seen that the tradition of ancient Greek music theory is continued and studied textually and educationally. Another problem that still remains current is the question of whether there is a direct connection between the ancient Greek science of harmony and Byzantine music theory, and whether the Byzantine music theory practice has a brand new starting point that draws on an Eastern source. In this study, it is aimed to reach a richer understanding about the origins of Byzantine music by expressing the relationship between Byzantine and Ancient Greek music theories through some examples, taking into account the unique characteristics of eastern music.
Greek Sources in the Ottoman Music
2nd INTERNATIONAL CONGRESS ON OTTOMAN STUDIES, 2018
Traditional Ottoman Music bears the mark of not only the Turkish community that is the proper inheritor of this culture but also of the minority communities that had lived within the borders of the Ottoman Empire for centuries. Ottoman Greeks, a minority that is the oldest and established in the history of the Empire and served the Empire with a plethora of purposes were also involved in the Ottoman music and have a musical culture that shares many common features with the Turkish music. First and foremost, both types of music are based on maqam system and therefore, this most significant common trait is observed in performance practices. Sources indicate that the Greeks had been involved in the Ottoman music since the 15th century and the Greek Orthodox Church had scored many musical pieces with lyrics in the Turkish language by using its own system of notation. Starting from the 15th century and up until the beginning of the 20th century, the Greek community has scored contemporary pieces of the period by using their system of notation. Additionally, they had serious works on music theory. As a consequence, today there exist a great number of manuscript and printed books, consisting of Ottoman music repertoire and music theory written by Greeks and almost none of these books have been studied within the field of an academic research. This study examines printed sources in the Greek language and their contents, which include the Ottoman-Turkish musical repertoire of their periods as well as musical theory and has its purpose to draw attention to the importance of such sources in as regards the Turkish music.
2021
This chapter compares music-related treatises of Greek-Orthodox theorists to elucidate the effects of the dominant 19 th century nationalist ideologies on music theory. The shift in the Greek-Orthodox community in the Ottoman Empire from ethno-religious identification to a national identity paralleled the political developments of the era. Subsequently, this transferal played a role in shaping a Greek national music within the Ottoman Empire, utilizing ecclesiastical and folk music traditions. The influence of these developments on music theory was, however, directed toward geographical and transcultural connections rather than toward efforts to establish a national music theory congruent with the music traditions in question. The chapter examines the ideas generated by 19 th-century Greek-Orthodox music theorists Apostolos Konstas, Konstantinos Protopsaltis, and Panagiotis Kiltzanidis against the work of their 18 th-century counterparts, Panagiotis Chalatzoglou and Kyrillos Marmarinos. It especially scrutinizes connections to the multicultural work of Tanburî Küçük Artin and contemplates the influence of the 18 th century theorist Dimitrie Cantemir. These analyses reveal the emergence of a line of Greek-Orthodox theory that also nourished the theoretical conventions of Ottoman music, distinguishing the Istanbul musical tradition from Arabic and Persian music practices. The study also ascertains the transculturality of forming a music theory influenced by Turkish-Muslim, Greek-Orthodox, Armenian, and other multicultural perspectives.