| 词条 | Ottoman classical music |
| 释义 |
Classical Turkish music ({{lang-tr|Türk sanat müziği}}, "Turkish art music"; or {{lang|tr|Klasik Türk müziği}}, "Classical Turkish music"), sometimes known as Ottoman classical music, developed in Istanbul and other major Ottoman cities and towns through the palaces and Sufi lodges of the Ottoman Empire.[1] Above all a vocal music, Ottoman music traditionally accompanies a solo singer with a small instrumental ensemble. In recent times, instruments might include {{lang|tr|tambur|italic=no}} (lute), {{lang|tr|ney|italic=no}} (flute), {{lang|tr|kemençe|italic=no}} (fiddle), {{lang|tr|keman|italic=no}} (Western violin), {{lang|tr|kanun|italic=no}} (zither), or other instruments. Sometimes described as monophonic music, the variety of ornamentation and variation in the ensemble requires the more accurate term heterophonic. OverviewOttoman music has a large and varied system of modes or scales known as makams, and other rules of composition. There are more than 600 makams that have been used so far. Out of these, at least 119 makams are formally defined, but today only around 20 makams are widely used. In the Sufi teaching, each makam represents and conveys a particular psychological and spiritual state. Sometimes, in certain makams, Ottomans would use different instrumental and vocal musical pieces in order to cure certain medical and psychological conditions. A number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation. Though non-Turkic contributions to Ottoman music have been marginalized since the dissolution of the Ottoman Empire, the Hamparsum notatation system was invented by an Ottoman Armenian named Hamparsum Limonciyan. Hamparsumbecame the foundation of Ottoman classical makam theory and was also used by the Armenian Apostolic Church.[2] Turkish classical music is taught in conservatories and social clubs, the most respected of which is Istanbul's Üsküdar Musiki Cemiyeti. A specific sequence of classical Turkish musical forms become a fasıl, a suite an instrumental prelude (peşrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations (taksim).[3] A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl remains in the same makam throughout, from the introductory taksim to the end, which is usually a dance tune or oyun havası.[4] However shorter şarkı compositions, precursors to modern day songs, are a part of this tradition, many of them extremely old, dating back to the 14th century; many are newer, with late 19th century songwriter Haci Arif Bey being especially popular. Tanrıkorur argues that the perceived differences between the traditional music genres stemmed from the cultural clash between the East and the West that emerged during the Tanzîmat Era (1839-1908).[3]l Musical instrumentsTraditional instruments in Ottoman classical music today include tanbur long-necked plucked lute, ney end-blown flute, kemençe bowed fiddle, oud plucked short-necked unfretted lute, kanun plucked zither, violin, and in Mevlevi music, kudüm drum. Older instruments still in use include lavta. FormsOttoman classical music comprises many vocal and instrumental forms, among which are the suites called fasıl. A fasıl typically includes many instrumental and/or vocal movements, including taksim, peşrev, şarkı, beste, and kar, among others. GenresOttoman music has various genres including the spiritual, improvised ("gazel", "kaside", "durak", etc.) and fasil music. Composers and PerformersOther famous proponents of this genre include Dede Efendi, Prince Cantemir, Baba Hamparsum, Kemani Tatyos Efendi, Sultan Selim III, and Sultan Suleiman the Magnificent. The most popular modern Turkish classical singer is Münir Nurettin Selçuk, who was the first to establish a lead singer position. Other performers include Bekir Sıdkı Sezgin, Alaeddin Yavaşça, Müzeyyen Senar, Emel Sayın and Zekai Tunca. Other Composers
Notes1. ^Feldman, Walter. Music of the Ottoman Court. 1996. {{ISBN|3-86135-641-4}} 2. ^{{Cite web| last = Barsoumian| first = Nanore| title = What Was Left Behind: Music of the Ottoman Empire| work = The Armenian Weekly| accessdate = 2018-11-21| date = 2011-10-20| url = http://armenianweekly.com/2011/10/20/what-was-left-behind-music-of-the-ottoman-empire/}} 3. ^1 {{cite web|url=http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm|title=The Ottoman Music|work=Tanrıkorur, Cinuçen (Abridged and translated by Dr. Savaş Ş. Barkçin) |accessdate=December 4, 2009 |dead-url=yes |archive-url=https://web.archive.org/web/20110717025541/http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm |archive-date=2011-07-17}} 4. ^{{cite web|url=http://www.ottomansouvenir.com/Music/Ottoman_and_Anatolian_Folk_Songs.htm|title=The Fasil|work=Ottoman Souvenir|accessdate=April 15, 2004}} External links
|video1=[https://www.youtube.com/watch?v=7rsNjgHGFzc Tarihi Türk Musikisi Unison Erkek Korosu - Dök Zülfünü Meydana Gel (Taş Plak Arşivi)] |video2=[https://www.youtube.com/watch?v=JlqkU-Lob0E Tarihi Türk Musikisi Unison Erkek Korosu - Tutii Mucizeguyem (Taş Plak Arşivi)] |video3=[https://www.youtube.com/watch?v=QzlzoClGn0w Tarihi Türk Musikisi Unison Erkek Korosu - Ebru Leri Maile Gizli Eder Israr (Taş Plak Arşivi)] |video4=[https://www.youtube.com/watch?v=z7ofJAstnxk Türk Musikisi Unison Erkek Korosu - Bir Afeti Mehpeyker ile Nuktelerim Var Tarihi (Taş Plak Arşivi)] |video5=[https://www.youtube.com/watch?v=G4UjuDCHntY Tarihi Türk Musikisi Unison Erkek Korosu - Ben Gibi Sana Aşkı Uftada Bulunmaz (Taş Plak Arşivi)] |video6=[https://www.youtube.com/watch?v=9J5tgcV1vJg Tarihi Türk Musikisi Unison Erkek Korosu - Bir Dilberdir Beni Yakan (Taş Plak Arşivi)] }}{{Ottoman Empire topics}} 1 : Ottoman classical music |
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