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Music of the Ottoman Court
Between 1600 and 1750 Ottoman Turkish music differentiated itself from an older Persianate art music and developed the genres antecedent to modern Turkish art music. Based on a translation of Demetrius Cantemir’s seminal “Book of the Science of Music” from the early eighteenth century, this work is the first to bring together contemporaneous notations, musical treatises, literary sources, travellers’ accounts and iconography. These present a synthetic picture of the emergence of Ottoman composed and improvised instrumental music. A detailed comparison of items in the notated Collections of Cantemir and of Bobowski—from fifty years earlier—together with relevant treatises, reveal key aspects of modality, melodic progression and rhythmic structures.
Before They Were Belly Dancers
Focusing on Egypt during the period 1760 to 1870, this book fills in some of the historical blanks for a dance form often known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as "belly dance." Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed "ethnic" dancers and singers. Analysis is given of the contexts of this dance--that was a legitimate performing art form in Egyptian society appreciated by a wide variety of audiences--with a focus on actual performances--and a re-creation of choreography.
Reform, Notation and Ottoman music in Early 19th Century Istanbul
Reform, Notation and Ottoman Music in Early 19th Century Istanbul: EUTERPE presents the first complete set of transcription and edition of Euterpe (1830) from Byzantine neumatic notation into the modified staff notation used by classical Turkish music and is accompanied by a substantial examination of the related historical, theoretical and musical topics. Through a series of Ottoman/Turkish classical vocal music compositions that can be dated to the 18th and 19th centuries, Euterpe and related sources reinforce a much broader picture of musical practice and transmission in which we clearly see that the Greek and Turkish traditions are linked. Reform, Notation and Ottoman Music in Early 19th Century Istanbul is presented in two parts: historical discussion and musical analysis, and complete transcription and edition of Euterpe. This book will appeal to music scholars and university students interested in minorities, cosmopolitanism in the Middle East and Balkans, the relationship between music and national identity, musical notation, classical Ottoman/Turkish music, Byzantine music, and, most significantly, ethnomusicology.
Music in the Balkans
This book asks how a study of many different musics in South East Europe can help us understand the construction of cultural traditions, East and West. It crosses boundaries of many kinds, political, cultural, repertorial and disciplinary. Above all, it seeks to elucidate the relationship between politics and musical practice in a region whose art music has been all but written out of the European story and whose traditional music has been subject to appropriation by one ideology after another. South East Europe, with its mix of ethnicities and religions, presents an exceptionally rich field of study in this respect. The book will be of value to anyone interested in intersections between pre-modern and modern cultures, between empires and nations and between culture and politics.
World Musics in Context
"This volume contains a wide-ranging survey of musics of the world in historical and social contexts, from ancient times to the present day. It begins by describing aspects of musical style and function in relation to the early developments of civilizations, as background to a study of later transformations. It then describes, in some detail, musical traditions of Africa and Asia, in relation to history/geography and to other aspects of culture. A compendium of information currently available as well as a dialectical examination of musical causation and function, this book aims to lead students, teachers, and those who practice Western music towards a deeper understanding of the various musical traditions that contribute to the modern, multicultural environment."--Publisher's description
Eastern Orthodox Christianity and American Higher Education
Over the last two decades, the American academy has engaged in a wide-ranging discourse on faith and learning, religion and higher education, and Christianity and the academy. Eastern Orthodox Christians, however, have rarely participated in these conversations. The contributors to this volume aim to reverse this trend by offering original insights from Orthodox Christian perspectives that contribute to the ongoing discussion about religion, higher education, and faith and learning in the United States. The book is divided into two parts. Essays in the first part explore the historical experiences and theological traditions that inform (and sometimes explain) Orthodox approaches to the topic...
Scales and Modes Around the World
Scales and modes are the building blocks of music. This is true for all the many music cultures of the world. This compendium covers the different scales as they are used in the Western tradition, including ie. the Greek, Byzantine, Octamodes, Takemitsu modes, Heptamodes, Octamodes, as well as modes in religious music and jazz, and synthetic scales created by some the most famous composers of the western music. Non-western scales cover Arabic, Persian, Turkish, Azerbaijani, Indian Ragas, Bali, Thai, Laos, Burma and the scales of some ethnic minorities in South East Asia. The wealth of information in this book is organized geographically, introducing and explaining over 500 different scales and modes. The use of the scales, the interval relations and structures are explained in illustrations. This compendium is an invaluable resource to everyone interested in the theory of the world’s music cultures, be it an individual musician, composer, arranger, musicologist, theorist, or jazz musician finding inspiration for the solos. See the sample pages for more information.
