Γεια σας πάλι,
Στην παραπάνω ιστοσελίδα Βρήκα μια ωραία παραπομπή που τονίζει τη συμβουλή των Ελλήνων και άλλων μειονοτήτων στην Οθωμανική μουσικη:
As is clear from the abovementioned groups, Ottoman citizens of Greek, Armenian and Jewish origin had an indisputably important place in the music scene. Turkish musicians tended not to play in the commercial milieu, preferring to participate in musical gatherings and fasıls between themselves, or to remain in the area of religious and Sufi music.
…πληροφορίες για τους αμανέδες, για τους οποίους έγινε ζωηρή συζήτηση κάποτε:
As concerns traditional genres, they were less-recorded than other types and thus we do not have sufficient material to get a good idea of them. These records contain examples of the “mani”, “semai” and “destan,” genre of folk literature and music, the realm of tulumbacı (fırefıghter) cafes and coffeehouses. The mani-singing tradition in particular were typical of the tulumbacı cafes and their clientele.
Known to have originated in Salonica, the mani was not strictly the realm of Turkish tulumbacıs; we know that Greek tulumbacı teams in Arnavutkoy ,Tatavla (moder-day Kurtulus) and Cengelkoy also sang mani and destan. During the same period we also see the widespread use of the the Anatolian folk version of mani. There are countless examples of the manıs sung in aşık meetings, separately in male and female gatherings, and antiphonally in village celebrations. Strongly influencing Anatolian Greek music over time, the “mani” became “amane” and “mane,” and came to comprise one of the main branches of Rebetiko music. With a strong interest and affinity for entertainment and music, Greek musicians held an important place in the musical life of Istanbul and Anatolia, especially in the area of “entertainment music.”
Dance music genres such as kasap havası, sirto and cifteteli (hasapiko, syrto and tsiftetelli) were especially popular with and performed by Greek musicians. In the early 1900s, and especially in Izmir, the Estudiantina groups were very much in demand. Due to the Levantine nature of Izmir, these groups created a genre reminiscent of Italian music, accompanied by instruments such as mandolin and guitar. The Favorite and Odeon companies included many Estudiantina groups among their first recordings. At the same time these groups also played the “zeybek” and “amane” music of the region. It was perfectly natural that Armenian, Greek and Roma musicians participated in the early period 78s, because in large cities and especially in Istanbul, it was performers from these groups that directed the course of music. It is well known that the Armenian, Greek and Jewish minorities formed the “cornerstone” of Ottoman music. In addition to these minorities, who produced many musical masterpieces, the Roma are known for their “popular” musical practice. However among these were some very important musicians as well.