Ottoman Studies

This book brings to life an impressively broad array of performances in the Eastern Mediterranean. It covers many traditional types of performance, including singers, dancers, storytellers, street performers, clowns, preachers, shadow-puppeteers, fireworks displays, and semi-theatrical performances in folk and other celebrations. It explores performance of the secular as well as of the sacred in its many forms, including Sunni, Shiite, Sufi, and Alevi Muslims; Sephardic Jews and those in the Holy Land; and Armenian, Greek, and European Catholic Christians. The book focuses on the Medieval and Early Modern periods, including the Early Ottoman. Some papers reach backward into Late Antiquity, while others demonstrate continuity with the modern Eastern Mediterranean world. The articles discuss evidence for performers and performance coming from archival sources, architectural and manuscript images, musical notation, historical and ethnographic accounts, literary works, and oral tradition. Across the broad range of issues, chronology, and geography, certain fundamental topics are central: concepts of drama and theatricality; varied definitions of 'performance' and related terms; the sacred and the profane, and their frequent intersection; and complex relations between oral and written traditions.

An exploration of early modern encounters between Christian Europe and the (Islamic) East from the perspective of performance studies and performativity theories, this collection offers new perspectives on how these cultural contacts were acted out on the real and metaphorical stages of theatre, literature, music, diplomacy and travel.

Since the early twentieth century, 'balkanization' has signified the often militant fracturing of territories, states, or groups along ethnic, religious, and linguistic divides. Yet the remarkable similarities found among contemporary Balkan popular music reveal the region as the site of a thriving creative dialogue and interchange. The eclectic interweaving of stylistic features evidenced by Albanian commercial folk music, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to name a few, points to an emergent regional popular culture circuit extending from southeastern Europe through Greece and Turkey. While this circuit is predicated upon older cultural confluences from a shared Ottoman heritage, it also has taken shape in active counterpoint with a variety of regional political discourses. Containing eleven ethnographic case studies, Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse examines the interplay between the musicians and popular music styles of the Balkan states during the late 1990s. These case studies, each written by an established regional expert, encompass a geographical scope that includes Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The book is accompanied by a VCD that contains a photo gallery, sound files, and music video excerpts.

Celebration, Entertainment and Theatre in the Ottoman World gathers twenty-four original essays exploring a broad range of historical performances in the Ottoman Empire. Offering a reappraisal of research on Ottoman festivities, celebrations and entertainment, the volume also examines the European-style theater that flourished in Istanbul during the last decades of the Ottoman Empire.   Contributors address issues such as the use of Istanbul's public space in celebrations, the possibilities for "having fun" in a small Aegean town, and the role of the Ottoman Sultans in promoting both art forms and public amusement. Other essays focus on the connections between puppet theater and early Ottoman comedies, the performance of Ottoman and foreign-style music in Istanbul and the everlasting problems of the sultans' censors.   By exploring festivals, ceremonies, and entertainments in their historical context, these essays provide a new approach to historical performances in the age of the Ottoman Empire.

On 3 May 1810 George Gordon, Lord Byron, swam like the mythic Leander from Sestos on the European side of the Hellespont to Abydos on the Asian shore. The hero of his poem "Don Juan" has lived in “feminine disguise” in the sultan's harem for more than a century. To commemorate Byron's Don Juan, the third volume of the "Ottoman Empire and European Theatre" series focuses on the image of the harem in literature and theatre. Nineteen international contributors explore historical conceptions of the Ottoman harem and seraglio in British, French and South East European sources from the late seventeenth to the nineteenth centuries.

Martin Greve: Introduction Bulent Aksoy: Preliminary Notes on the Possibility (or Impossibility) of Writing Ottoman Musical History Ralf Martin Jager: Concepts of Western and Ottoman Music History Ruhi Ayangil: Thoughts and Suggestions on Writing Turkish Music History Ersu Pekin: Neither Dates nor Sources: A Meth-odological Problem in Writing the History of Ottoman Music Nilgun Dogrusoz: From Anatolian Edvar (Musical Theory Book) Writers to Abdulbaki Nasir Dede: An Evaluation of the History of Ottoman/Turkish Music Theory Walter Feldman: The Musical "Renaissance" of Late Seventeenth Century Ottoman Turkey: Reflections on the Musical Materials of Ali Ufki Bey (ca. 1610-1675), Hafiz Post (d. 1694) and the "Maraghi" Repertoire Kyriakos Kalaitzidis: Post-Byzantine Musical Manuscripts as Sources for Oriental Secular Music: The Case of Petros Peloponnesios (1740-1778) and the Music of the Otto-man Court Gonul Pacaci: Changes in the Field of Turk-ish Music during the Late Ottoman/Early Republican Era Arzu Ozturkmen: The Quest for "National Music": A Historical-Ethnographic Survey of New Approaches to Folk Music Research Okan Murat Ozturk: An Effective Means for Representing the Unity of Opposites: The Devel-opment of Ideology Concerning Folk Music in Turkey in the Context of Nationalism and Ethnic Identity Suley-man Senel: Ottoman Turku Fikret Karakaya: Do Early Notation Collections Represent the Music of their Times? Sehvar Besiroglu: Demetrius Cantemir and the Music of his Time: The Concept of Authenticity and Types of Performance Andreas Haug: Reconstructing Western "Monophonic" Music Recep Uslu: Is an Echo of Seljuk Music Audible? A Methodological Research

During the late Ottoman period (1856-1922), a time of contestation about imperial policy toward minority groups, music helped the Ottoman Greeks in Istanbul define themselves as a distinct cultural group. A part of the largest non-Muslim minority within a multi-ethnic and multi-religious empire, the Greek Orthodox educated elite engaged in heated discussions about their cultural identity, Byzantine heritage, and prospects for the future, at the heart of which were debates about the place of traditional liturgical music in a community that was confronting modernity and westernization. Merih Erol draws on archival evidence from ecclesiastical and lay sources dealing with understandings of Byzantine music and history, forms of religious chanting, the life stories of individual cantors, and other popular and scholarly sources of the period. Audio examples keyed to the text are available online.

Gönül Paçacı Tunçay, kırk yılı aşkın bir süredir bu olağanüstü çabayı sarf ederek benzerine az rastlanır miktar ve çeşitlilikteki malzemeyi derleyip tasnif etmeyi ve bütün bu birikimi tek bir kitaba sığdırmayı başardı. El yazması ve matbu notalar, güfte mecmuaları, nazariyat kitapları, biyografiler, dergiler, konser programları ve boş nota defterlerine varıncaya kadar her türlü malzeme Neşriyat-ı Mûsıki adlı bu kitapla Osmanlı Müziğini Okumak niyetinde olanların ilgisine sunulmakta...

Kitapta her türden belge tanıtılmış, evrakın büyük bölümü çeviri yazısıyla verilmiş, tespit edilen repertuarın tamamına yakını “Ekler” bölümünde listelenmiştir. Neşriyat-ı Mûsıki adlı bu kitap, içerdiği malzemeler araştırmacılar tarafından ele alındığında, tezlere konu olduğunda, literatüre eklendiğinde kırk yıllık bir emek maksadına ulaşmış olacaktır.

This book is part of the History of Ottoman Literature of Science Series in which works on astronomy (1997), mathematics (1999) and geography (2000) were published previously. It includes an introduction, authors and their works, works by unknown authors and indices. The book consists of 206 authors. Information about the works whose authors are known is given chronologically under separate headings. One can find the works by unknown authors at the end of the book. As in the previous books in this series, the present work mentions approximately 1000 books, treatises (risales) and articles written on Ottoman music between the years 1300-1923. It also gives information about their authors as well as manuscript and printed works.

aygın düşüncenin aksine, Türkiye tiyatrosunu miladı Muhsin Ertuğrul'la değil Ermeni asıllı Güllü Agop'un kurduğu "Osmanlı Tiyatrosu"yla başlamıştır. Bu incelemeden çıkacak birtakım sonuçlar yalnız kendi çağı için değil, günümüz tiyatrosu ve kültür ortamı içni de geçerli ve önemlidir. Bu sonuçlar kısaca şöyle özetlenebilir: Gülü Agop 150 yıl önce Batı tiyatrosu örneğinde bir tiyatro kurarken ne seyirci, ne yazar, ne de tiyatro sanatçıları vardı. "Osmanlı Tiyatrosu" kısa zamanda bunların hepsini sağlamıştır. Hiç tiyatro görmemiş halkı tiyatroya ısındırmak, önyargıları kırmak, Müslüman kadın oyuncu ve seyirci sorunlarına çözüm getirmek Güllü Agop'un "Osmanlı Tiyatrosu" ile gerçekleştirdiği en önemli katkıdır. Oyun yazarlarının tiyatro sanatçılarıyla birlikte çalışmalarına olanak sağlamıştır. Böylece, tiyatrocu eylemi ile edebiyatçı eylemi güç birliği yapmıştır (Günümüzde öyle mi? Yazarlar oyunlarını evlerinde yazıp tiyatroya verdikten sonra yalnız gösteriminde görürler!). Bu kadar kısa sürede her bakımdan iyi örgütlenmiş yerleşik bir repertuar tiyatrosunun kuruluşuna dünya tiyatro tarihinin hiçbir döneminde rastlanmamıştır. "Osmanlı Tiyatrosu"nda günümüz tiyatrosuna ışık tutabilecek en önemli ders, oyuncular içindir. Osmanlı Tiyatrosu'nun sanatçıları tam anlamıyla profesyoneldi; kendilerini yalnızca sanatlarına adamışlardı. Günümüzün tiyatrocuları tiyatromuzun gelişimi için alt yapıyı canlarını dişlerine takarak büyük bir özveriyle hazırlayan bu öncülerin varlığını unutmasınlar. Bu onlara kaynak güç olacaktır.

In the current world, it is really valuable to open windows on aspects of culture that the West and the Muslim world have in common, but few of us would think of opera in that context. [This book has] shown that Turkey and the West share such celebrated names as Donizetti (albeit the great composer's brother) and Paul Hindemith, and that opera has a long history in Turkey. I'm not aware that anyone else has ever documented this relationship, which I found fascinating.Dr. David Bamberger, Artistic Director, Opera Program, Cleveland Institute of Music.Arnold Reisman received his BS, MS, and PhD degrees in engineering from UCLA. He is a registered Professional Engineer in California, Wisconsin, and Ohio, and has published over 300 papers in refereed journals, along with 16 books. He is listed in Who's Who in America, Who's Who in the World, American Men and Women of Science, and Two Thousand Notable Americans, and he is a Fellow of the American Association for the Advancement of Science. His most recently published books are: TURKEY'S MODERNIZATION: Refugees from Nazism and Atatürk's Vision and Arts in Turkey: How ancient became contemporary.

Approaching Ottoman social history through the lens of entertainment, this volume considers the multi-faceted roles of entertainment within society. At its most basic level entertainment could be all about pleasure, leisure and fun. But it also played a role in socialisation, gender divisions, social stratification and the establishment of moral norms, political loyalties and social, ethnic or religious identities. By addressing the ways in which entertainment was employed and enjoyed in Ottoman society, Entertainment Among the Ottomans introduces the reader to a new way of understanding the Ottoman world. Contributors are: Antonis Anastasopoulos, T lay Artan, Ebru Boyar, Palmira Brummett, Kate Fleet, James Grehan, Svetla Ianeva, Yavuz K se, William Kynan-Wilson, Milena Methodieva and Y cel Yanıkdağ.

Osmanlı İmparatorluğu’nun 700. Kuruluş Yıldönümü nedeni ile olağanüstü bir kültürel mozaik oluşturan imparatorluktan cumhuriyete geçme ve sonrasında bir dünya devleti olma sürecinde yaşanan aşamalara, kültür ve sanatın genel kapsayıcı bütünlüğü içinde yeralan renkli bir dünyadan, ‘Eğlence Yaşamı’ndan bakan "Binbir Gün Binbir Gece, Osmanlı’dan Günümüze İstanbul’da Eğlence Yaşamı"adlı eseri yeni yılda müşterilerimize armağan ettik.

Türkiye'de müzik tarihi ve piyano edebiyatı konusunda yazılmış kitaplar son derece azdır. I Son yıllarda bu konuda akademisyenlerin yazdığı kitap/arda biraz artış olduysa da yurtdışındakilerle kıyaslandığında yine de bu uğraşlar zayıf kalmaktadır. Dr. Evren Kutlay Baydar'ın bu kitabı hem müzik tarihine hem de Osmanlı-Avrupa ilişkilerine ışık tutmakta, akademik alanda büyük bir boşluğu doldurmaktadır.
Doç. Sibel Kudatgobilik İstanbul Üniversitesi Devlet Konservatuvarı