Figures
1.1 Eighteenth-century kemançe/keman (Fonton 1751: fig. 4) 107
1.2 Şahrud, two neys, kopuz, kemançe. “Surname” of Murad III (1582). H1344 18b 109
1.3 Sixteenth-century ud: “Süleymanname” (1558: fol. 412a); ud, two neys, miskal, kemançe 110
1.4 Rabab, Seljuk painted bowl (Metropolitan Museum of Art), no. 57.61.16 113
1.5 “Surname” of Murad III (1582), fol. 404a: ud, çeng, kemançe, kopuz with curved tuning-board, and straight tuning-board 115
1.6 “Surname” of Murad III (1882): Çeng, şahrud, two neys, two mıskals. H1344 19a 120
1.7 Çeng (Hızır Ağa) 121
1.8 Kanun, Bukhara 1571 (Vyzgo 1980: pl. 43)
1.9 Kemançe (Hızır Ağa) 126
1.10 Lyra (kemençe): a) de Blainville (1767:64); b) Yekta (1921:3015) 129
1.11 Neyzens from “Surname” of Ahmed III (1720–30) in Mevlevi costume (fol. 58a) 136
1.12 Neyzens from “Surname” of Ahmed III (1720–30) in secular costume (fol. 106b) 137
1.13 Ensemble (Fonton 1751: fig. 5)
1.14 Ney (Fonton 1751: fig. 1) 139
1.15 Tanbur from fifteenth-century Herat “Shahnamah” (Vyzgo 1980: no. 45) 142
1.16 Tanbur (Cantemir ca. 1700) 148
1.17 Tanbur (Fonton 1751: fig. 2) 149
1.18 Tanburi (Hızır Ağa) 150
1.19 Masked dance with çeng (Album of Ahmed I, fol. 408b), 1603–1617 152
1.20 Kanun (Hızır Ağa) 156
1.21 Santur (Hızır Ağa) 160
1.22 Musikar in mehter-i birun, folio 97b from “Surname” of Ahmed III 164
1.23 Musikar (Fonton 1751: fig. 3) 167
1.24 Abdullah Buhari; court woman with bozuk 169
1.25 A bozuk from the treatise of Hızır Ağa 171
2.1 Development of the taksim 306
3.1 Seventeenth-century Transoxanian pishrow (after Jung 1989:187–8) 320
3.2 Neva devr-i kebir (Acemi) hanes, terkibs and cycles 350
3.3 “Gülistan” hanes, terkibs and cycles 354
3.4 Osman Paşa, hane, terkibs and cycles 357
3.5 Hane, terkib structure 369
Tables
1.1 Occupational categories of musicians as mentioned by Esʿad Effendi 71
1.2 Instruments and musicians from the “Cemaat-i mutriban” of 1525 105
1.3 The twelve ney sizes of the modern system 138
2.1 The fretting of the Ottoman tanbur. Cantemir: “Kitabu İlmu’l Musiki Ala Vechi’l-Hurufat” (Cantemir ca. 1700) 203
2.2 General scale according to Seydi (late fifteenth century) 205
2.3 Intervals between B (buselik) and A (dügah) on the modern Turkish tanbur, the seventeenth-century tanbur, and the modern Iranian setar, expressed in commas 209
2.4 The ʿUzzal/Hicaz tetrachord 210
2.5 Çargah (c) to hüseyni (e) in Cantemir and modern practice 216
2.6 Comparative chart of the general scale according to Cantemir and Abdülbaki Nasır Dede 217
2.7 Frequency in the use of modal entities, 1650–1700 236
2.8 Frequency of makams in modern Turkish music (after TMA) 237
2.9 Makam classification of Kemani Hızır Ağa
2.10 Verbs employed by Cantemir to describe melodic movement 267
3.1 Formal structure of the seventeenth-century peşrevs 328
3.2 Düyek peşrev 337
3.3 Devr-i kebir peşrev 337
3.4 Hüseyni, düyek, Hasan Can (Bobowski ca. 1650:24) 359
3.5 Compositions of Cantemir 381
3.6 Hane and terkib structure of Hüseyni, “Büyük Muhammes,” (Bobowski ca. 1650:21–2 and Cantemir Collection: no. 82) 431
3.7 Pençgah semai 477
Music Examples
2.1 Teslim of Beyati peşrev by Emin Dede, showing alternation of segah and uşşak notes (after Karadeniz 1984:337) 213
2.2 Positions of the first six independent makams along the degrees of the fundamental scale 226
2.3 Older and newer forms of the makam Neva 226
2.4 Comparison of the makams Dügah and Hüseyni 227
2.5 The three descending makams of the basic scale degrees 228
2.6 The makams using secondary scale degrees
2.7 Makam Zengüle 230
2.8 Scales of Mahur and Nişabur, showing secondary scale degrees 231
2.9 Scales of Uzzal and Nikriz 231
2.10 Structure of the makam Sünbüle 232
2.11 Structure of Baba Tahir 242
2.12 Isfahan from küll-i külliyat, first hane 243
2.13 Nazire-i Isfahan, usul remel, Kantemiroğlu, serhane, mülazime 243
2.14 Nühüft: a) Buhurcioğlu; b) Ali Hoca; c) Angel 245
2.15 Nühüft, Harutin 246
2.16 Nühüft, düyek, serhane (Collection: 122) 247
2.17 Nühüft, darbeyn; Mehmed Çelebi (Eyyüblü), serhane (Collection: 113) 247
2.18 Hüzzam, from küll-i külliyat peşrev, third hane 248
2.19 Türkü from Konya, “Yeşilim, yeşilim aman,” nakarat 249
2.20 Şiraz, from küll-i külliyat, serhane 250
2.21 Kuçek, from küll-i külliyat, first hane 252
2.22 Movement of Nişabur from küll-i külliyat, third hane 252
2.23 Ambitus of Irak and Evc 263
3.1 Kürdi darbeyn, Ermeni Murad (Cantemir Collection: no. 154) 325
3.2 a) Neva, devr-i kebir, Acemi (Cantemir Collection: no. 52) 349
b) Neva, devr-i kebir, Acemi, serhane and mülazime A 349
c) Neva, devr-i kebir, Behram, serhane A, B 349
3.3 Pençgah, “Gülistan,” düyek, Acemlerin (Cantemir Collection: no. 27) 352
3.4 Uzzal “Bustan”, düyek, ʿAcemi, serhane and mülazime B (Cantemir Collection: no. 29) 353
3.5 Dügah-Hüseyni, düyek, Osman Paşa el-Atik (Bobowski ca. 1650:1) 356
3.6 Osman Paşa, H I and “Gülistan,” H I 356
3.7 Terkib-i intikal from Cantemir’s H I 357
3.8 Comparison of Bobowski’s MA and Cantemir’s H I B. (Hüseyni, Küçük Muhammes, Osman Paşa, Cantemir Collection: no. 316) 358
3.9 Hasan Can, düyek, serhane, mülazime, hane II (Bobowski ca. 1610:24) 360
3.10 Hasan Can, H III (Bobowski and Cantemir) 362
3.11 Acem, “Gül-i Rana” düyek (Bobowski ca. 1630:159, and Cantemir Collection: no. 138), H I, M, H II 365
3.12 “Gül-i Rana,” H III 366
3.13 (Uzzal), devr-i kebir, Şah Murad (Bobowski ca. 1650:319–20) 367
3.14 Seyir of Uzzal in Şah Murad’s peşrev 370
3.15 Nühüft düyek, serhane/mülazime (Cantemir Collection: no. 230) 372
3.16 Neva, devr-i kebir, Ali Hoca, (Cantemir Collection: no. 231) 374
3.17 Irak, devr-i kebir, Ali Hoca (Cantemir Collection: no. 229) 375
3.18 a) Bestenigar, Numan Ağa, teslim; b) “Bülbül-i Irak,” (Cantemir Collection: no. 35), serhane; c) “Irak devr-i kebir,” Ali Hoca, serhane 376
3.19 Melodic nucleus in serhane, cadential formula and M C (Irak, Ali Hoca) 377
3.20 Muhayyer, düyek, Eyyubi Mehmed Çelebi, “Margzar,” (Collection: no. 235). Serhane and mülazime 382
3.21 Muhayyer, muhammes, Kantemiroğlu (Collection: no. 285). Serhane 383
3.22 Muhayyer muhammes, mülazime 384
3.23 Muhayyer seyir in serhane and mülazime 384
3.24 Muhayyer muhammes, H II and H III 385
a) Seyir of Hüseyni, after Yekta 1921:2997–8 385
b) Seyir of Buselik, after Yekta 1921:9001–2 385
c) Seyir of Muhayyer, after Yekta 1921:3003–4 385
3.25 Opening half-cycles of cycles 1, 2, 3 (II A) 387
3.26 Rhythmic pattern of H II B 387
3.27 MB and H II C 388
3.28 Cadences of H II B, C and MA 388
3.29 H II C and transposition in H III A 388
3.30 Buselik-Aşirani, düyek (Collection: no. 112) 390
3.31 Kürdi, usuleş berefşan, Tanburi Angeli (Collection: no. 304), serhane 391
3.32 Buselik-Aşirani, berefşan, Kantemiroğlu (Collection: no. 279), serhane 391
3.33 Buselik-Aşirani, mülazime 393
3.34 Hicaz Evç Zengüle 394
3.35 Buselik-Aşirani, H II 395
3.36 Buselik-Aşirani, H III 395
3.37 a) H II B; b) H III A; c) H III B 395
3.38 Buselik pentachord, Zengüle pentachord 396
3.39 Beyati, sofyan, Acemleriñ (Collection: no. 286) 402
3.40 Beyati, düyek, Acemleriñ, M (Collection: no. 100) 403
3.41 Turkish cadences in Beyati and Uşşak: a) Nefiri Behram, sakil (Cantemir Collection: no. 159); b) Nefiri Behram, fahte (ibid.: no. 58); c) Solakzade, devr-i kebir (Bobowski ca. 1650:106) 404
3.42 Beyati, semai-i, Ahmed Çelebi, H I, M (Cantemir Collection: no. 264) 405
3.43 Beyati, düyek, Acemleriñ, H II and H III (Collection: no. 100) 405
3.44 Beyati, devr-i revan, Acemleriñ (Collection: no. 102) 406
3.45 Arazbar, devr-i revan, Eyyubi Mehmed (Cantemir Collection: no. 283), H I 407
3.46 Evç, devr-i revan, Eyyubi Mehmed Çelebi (Cantemir Collection: no. 328), H I and MA and B 408
3.47 Neva, fer-i Muhammes, Acemleriñ (Cantemir Collection: no. 68) 409
3.48 Sivas halayı 410
3.49 Esfahan: “Pishdaramad-e qadim,” version of Montazam Hokama 411
3.50 a) Peşrev-i Hünkar, Irak, Emir-i Hac (Bobowski ca. 1650:134), H I, MA, B, C; b) Same (Cantemir Collection: no. 299) 423
3.51 a) Kız düyeki, H I, MA interlinear 424
3.52 “Gül-i Rana,” serhane, interlinear 425
3.53 “Gül-i Rana,” MB 426
3.54 “Gül-i Rana,” MD 427
3.55 “Bülbül-i Aşık,” (Bobowski ca. 1650:63) “Bülbül-i Aşık” (Cantemir Collection: no. 71) 427
3.56 H I B 428
3.57 H III B, Bobowski and Cantemir 429
3.58 “Son Peşrev” (Bülbül-i Uşşak), Heper 1979:67 430
3.59 “Büyük Muhammes” (interlinear) 432
3.60 Serhane-mülazimes of Neva fahte 436
3.61 Buseliķ, Sakil-i Acemi (H I) 437
3.62 Acemi, Nazire-i sakil-i Acemi (serhane, mülazime) 438
3.63 Der makam-i Hüseyni usuleş düyek, “Gamzekar” (Collection: no. 327) 439
3.64 Der makam-i Hüseyni usuleş düyek, nazire-i “Gamzekar” (Collectìon no. 314) 440
3.65 a) Cadential phrase of M of “Gamzekar”; b) H I A of nazire 441
3.66 Der makam-i Isfahan, usuleş remel (Collection no. 277) 441
3.67 Nazire-i Isfahan, usuleş remel, Kantemiroğlu (Collection no. 278) 442
3.68 Saba, hafif, Edirneli Ahmed Çelebi (Cantemir Collection no. 94 and Fonton 1751: no. 5) 446
3.69 Bestenigar, berefşan, Kamtemiroğlu (Collection: no. 281) “Air de Cantemiŗ,” (Fonton 1751: no. 4; Hane I, A, B, C, D) 447
3.70 Usul and opening cycles peşrevs in berefşan; (pattern of berefşan) 449
a) Kürdi, Angeli (Cantemir Collection: no. 304) 449
b) Bestenigaŗ, Kantemiroğlu (Collection: no. 281) 449
3.71 Nühüft saz semai (Cantemir Collection: no. 266) 453
3.72 Semai, Beyati, Şah Murad, Fatih-i Baghdad (Bobowski ca. 1660:134) 454
3.73 Segah nefes: “Şol cennetin ırmakları” 454
3.74 Tuvan khomei tune sung by Genady Chash (1988) 454
3.75 Ambitus of Neva (after Yekta 1921) 458
3.76 Tonal centers of Neva 458
3.77 Neva taksim (opening), Necdet Yaşar (after J. Frigyesi) 458
3.78 Seyir of Neva (after Yekta 1921) 459
3.79 Neva (semai), H I (Cantemir Collection: no. 257) 459
3.80 Neva (semai), mülazime 459
3.81 a) (Neva) Semai-i Solakzade, H I (Bobowski ca. 1650:100); b) (Neva) Semai, (Cantemir Collection: no. 257), H 1 460
3.82 (Neva), Semai-i Solakzade, mülazime 461
3.83 (Neva), semai (Bobowski ca. 1650:76), H I 461
3.84 (Neva) semai (Bobowski ca. 1650:76), MA, MB 462
3.85 (Neva) semai (Bobowski ca. 1650:77), H I, MA, MB 462
3.86 (Neva) semai (Bobowski ca. 1650:75), H I, M and H II 463
3.87 Mevlevi son yürük semai (after Cüneyt Kosal) 464
3.88 Kürdi, semai (Cantemir Collection: no. 265), H I, M A, B, C 466
3.89 Kürdi semai, H II 467
3.90 Kürdi, semai, H III 467
3.91 Semai usul patterns 468
3.92 Aksak semais from Cantemir (serhanes) 470
a) Acem; b) Hüseyni; c) Rast (Gazi Giray); d) Geveşt (Cantemir); e) Buselik-Aşirani 470
3.93 Şirvani (halay), Gaziantep 472
3.94 Hüseyni, semai-i Baba Mest (Cantemir Collection: no. 268) 473
3.95 Uzzal, semai (Bobowski ca. 1650:323) 476
3.96 Son yürük semai (Heper 1979:115) 477
3.97 Pencgah, semai (Cantemir Collection: no. 243) 478
3.98 “Pençügah makamıda saz semaisi Kantimir oğlu’nun” (Yekta 1924: no. 171) 479
3.99 Melodic nucleus in Yekta’s version 480
3.100 Cantemir and Yekta versions, partial interlineal transcription 481