Τάσο, νομίζω ότι η Ιωάννα αναφέρεται στο κείμενο που συνοδεύει το σιντί για τους Έλληνες συνθέτες της Οθωμανικής μουσικής.
Δεν το έχω, αλλά βρήκα ένα κείμενο του Bulent Aksoy από μια άλλη ιστορική επανέκδοση, που το βρήκα επίσης εξαιρετικό. Το παραθέτω και σαν link και ολόκληρο.
Εύα
http://f1.parsimony.net/forum789/messages/14056.htm
Music Ottoman Music
This segment was compiled from an introduction written by Mr Bulent Aksoy Of Turkish Economic and Social History Foundation for the occasion of the release of “The Colour of Music” CD in 1996.
Origins and development of Classical Ottoman Music deserves special investigation as it has eventually given birth to the contemporary Classical Turkish Music.
Istanbul has been the centre of several musical genres and traditions since the ninth century. The focus of Byzantine liturgical music shifted from Syria and Palestine to Istanbul during that century. The surviving Byzantine chant formed and notated during the period until the end of 15th century. The conquest of Istanbul in the 15th century made it the centre of attraction for the musicians active in the elite Islamic cities of the Middle East. Alongside the Turks, the Ottoman Jews, Armenians and Greeks subsequently established their musical centres in Istanbul. Ottoman Classical Music is the product of this multicultural structure.
Ottoman society was composed of various religious and ethnic groups with each community having their own way of life, traditions, customs and mores. These cultures continued to exist for centuries influencing each other and resulting in a multicultural ‘mosaic’. During this process, Ottoman Music arose as an art music that stood above all the local, ethnic and religious musical conventions. Since this music created a sphere assimilating the musical taste of all Ottomans, it had the specific and social significance. In that regard, Ottoman Music is comparable to Classical Ottoman Architecture, which created a sweeping style that, stood outside the Local Architecture. One can easily see Byzantine influence in the great Architect Sinan’s work. Ottoman Music, in its formative years, combined the influences of Herat, Baghdad and Samarkand with those local Anatolian and Istanbul genres, setting up a new tradition.
The Ottoman Musical Tradition was not a closed one like the other elite traditions of the Middle East. It was open to people of humble social background, non-Muslims and other ethnic groups. Therefore it attracted musicians from Greek, Armenian, Jewish and Gipsy backgrounds - and it is this openness that made it an enduring tradition, which continues to this day. Musicians from non-Turkish and Non-Muslim communities were never regarded as strangers and never underestimated. They taught many Turks how to play the Tanbur, the Violin and the Ney - an instrument peculiar to Islamic Culture. As for the Turks, they were never concerned that they learned music from non-Muslim or non-Turkish masters. The best known example of this reception is the rumour that Sultan Selim III used to rise to his feet in respect when his Tanbur teacher Izak, a Jewish musician, came to his court. Other masters that come to mind are:
Zacharias , the eighteenth century Greek composer of Ottoman Music
Fresko Romano, also known as Tanburi Izak, a Jewish master of Music
Oskiyan, another Armenian master of the Tanbur
Ilya, a Greek composer with outstanding compositions
Ali Ufki, a Polish prisoner of war known as Albert Bobowski in the West
Demetrius Cantemir, (1673 - 1723), Prince of Moldavia
Hampartzum Limonciyan, (1768 - 1839), Chief Musician at Armenian Church
Other names include masters Tanburi Emin, Markar, Tatyos and Kemence masters Nikolaki, Levon Hanciyan, Latvaci Andon & Hristo as well as Bimen Sen, Izak Varon and numerous others.
There is a widespread theory that vocal and instrumental improvisations originate from folk music. The circulation of the improvisional forms did not cease when they reached the central culture of Ottoman Music. There have been cases when they were directed back to the peripheral ethnic cultures. Ottoman Jewish liturgical music borrowed classical Ottoman improvisation in the seventeenth century and used it in Istanbul
Synagogues ever since. Vocal improvisation has left important vestiges in the musical genres of Greece, Bulgaria, Macedonia and Romania.
Distinguished examples of Ottoman-Greek, Ottoman-Jewish, Ottoman-Armenian and Ottoman-Turkish music can be found in a magnificent CD called “Istanbul, the Colour of Music” which was released in 1996 by Boyut Muzik; e-mail: boyut@turk.net
The CD contains a collection of works performed at a concert called “The Distinction of Istanbul” on Saturday March 2, 1996. Greek, Armenian, Jewish and Turkish musical groups came together to present a feast of Ottoman Classical music on this occasion.
The surnames of musicians who presented this auspicious concert give us a hint about the undeniable contribution of Turkish non Muslims to the cultural heritage of Ottomans as well as the Modern Turkish State. These names include people of Greek heritage such as: Haryatidis, Eftimiadis, Parizyanos, Anastasiyadis, Angelidis, Haralambopoulos; Armenian heritage such as: Manukyan, Hagopyan, Cubukcuyan, Kucukyan, Semerciyan, Bogosyan; Jewish heritage such as: Kotzen, Varon, Dana, Sarfati.
We would like to thank them - and many others in the past - for their contributions to Anatolian music and culture.
