1 Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 6 Sayı: 26 Volume: 6 Issue: 26 Bahar 2013 Spring Issn: WESTERN EFFECTS AND RESPONSES IN OTTOMAN COURT MUSIC IDENTITY DURING THE AREAS OF SELIM III AND MAHMUT II Gözde ÇOLAKOĞLU SARI Abstract In this article, the enterprises that were initiated in the name of westernization movements during the periods of Selim III, and his nephew, Mahmut II, in which the concrete effects of the westernization current asserted itself, the influence of these endeavors on Ottoman Court Music Identity, the historical outcomes of these effects will be analyzed. Historical documents, recollections, letters and the archives of the state will serve as resources and the presented information will be supported by visual materials. Keywords: Ottoman Court Music Identity, Westernization Movement, Mehterhane, Muzıka-yı Humayun. The court, which is the center of the Ottoman Empire, was not only the center of the state but it was the center of art as well. After the Ottomans had enlarged its territories to rule over three continents and the state power and authority reached its peak position, the music of the court acquired its own identity. Indeed, the court music and musicianship have been concepts that have echoed both in the west and the east throughout the history. While our focus will be on the westernization current during the periods of Selim III and Mahmut II and its impact on the court music, we need to touch upon the process in which the music that we can name as Ottoman Turkish Music, or Court Music acquires its own identity and which the westernization movement gains momentum. The 15 th century marks a period where the Turkish Music Identity is formed in the Ottomans whose focus was more on capturing and expanding territories. In the 16 th century, we observe a state which has reached its peak power, enlarged its rule over three continents and managed to rule over the whole Islamic world with the conquest of Egypt in the time of Selim I. On the other hand, significant developments can be observed in this century in the composition and performance of Turkish Music while the weighted bulk of music performance within the Turks moves from Turkistan, North India and Azerbaijan to the Ottomans (Özcan, 1997: 477). The shift of the tradition of theory in the 15 th, and performance and composition in the 16 th century from the east towards the Ottomans initiates the process in which Ottoman- Turkish Music and Ottoman Court Music embarks on to form its own identity. Along with this process the sultan, the sole center of the Ottomans and Islam, takes upon the role of being the center of the music life in the empire. The court music that begins to flourish as of this period and that forms its own existence and individuality is simultaneously the music of Doç. Dr., İTÜ Türk Musikisi Devlet Konservatuarı.
2 royalty which is backed up by the state and, first and foremost, by the sultan 1. Some examples about the music assemblages in Ottoman Empire for the sultan can be seen in Figure 1 and 2. The 17 th century, which ended with a severe loss of territory in the Treaty of Karlowitz (1699) compared to the glory of the 16 th century, signifies a brand new formation in music and the continuation of the musical understanding of the 16 th century. This century; furthermore, indicates a period in which a music genius like Ali Ufki lived, brought the musical notes of the West adapting it to the Turkish Music which back then had no sense of musical writing, hence maybe the first steps of the westernization traces in the Ottomans (Turkish Music) (Elçin, 1975: iv, xix). The first piece in this work can be seen in figure 3. Figure 1: Arifi s sahname (Süleymanname 2 ) provides some information about music and instruments in 16 th century of Ottoman. Kanuni was watching the performance of the ensemble in the circumcision feast of his three sons (shahzadahs). (And, 1982: r.29). The reappearance of these traces coincides with the second half of the reign of Ahmet III and the 12-year grand vizier of Nevşehirli Damat İbrahim Pasha. In this period, huge supports can be witnessed for the art and the artist (Berker, 1985: 157) as the Ottoman-Turkish music proves its identity independent from the east. In the Tulip Era, which ends with the Patrona Halil Uprising (1730), mansions, palaces in the coast, pavilions, pools and gardens are set up and music meşks are conducted following the literature talks in the meetings called Çırağan Amusements in summer nights and Helva 3 Meetings in winters. The whole era, in general, can be said to host a great number of prominent composers and musicians. 1 Due to such reasons, considering the periods it gains its uniqueness and the environments it blossoms, we found it appropriate to name the aforementioned music as the Ottoman Turkish music. Although there are many uses for this term today such as the Traditional Turkish Music, Turkish Makam Music, Turkish Art Music and Turkish Music, we still prefer the term Ottoman-Turkish Music - though the previous terms are all self-reasonable and compatible with the context. Moreover, the art and folk music is viewed as a general distinction in the histories of most of the societies; however, the two are actually the pieces of a unified whole. In a historical context, the existence of art and folk music cultures in a given society has always resulted in a difference in performance though the music culture is the same as a result of using various forms and instruments. 2 Süleymanname is a sahname, which is held in Topkapı Palace Library now. It was written by Fettullah Arifi Çelebi. It explains life of Kanuni Sultan Süleyman and gives examples of Turkish miniature art works. 3 A sweet prepared in many varieties with sesame oil.
3 Figure 2: Intizâmi s surname 4 (Surnâme-i Hümâyûn) provides some information about music and instruments in the 16 th century of Ottoman. Sultan Murat III was watching the performance of the ensemble with the köçek 5 in the circumcision feast of his son (shahzadah Mehmed) (Atasoy, 1997: 33). Figure 3: The first notation in Mecmua-i Saz u Söz: Pişrev-i Osmân Paşa El-Atik Der Makâm-ı Dügâh Hüseyni Usûleş Düyek The fact that the Tulip Era encompasses the first periods the Ottomans turn towards to the west and that the first westernization essence can be found in this period ensures that music takes upon one of the leading roles in this wave. Until that time, the whole problems of the Ottomans are linked to the state s inability to practice its characteristic features which featured its rise back in the past. However, in this period, the state employs a new understanding of at least investigating a structure it belittled till then, and of researching the reasons of its success (Hanioğlu, 1985; 1382). That is why, the Ottoman Empire start to learn more and more from the Europeans, to establish embassies in the western countries, and to adopt the western institutions, hence to set off on a road to become a European and Western (Kunt, 1997: 64). The change the Ottoman administrator s desire at this stage is only about the import of the technology into the empire, and the theme one witnesses in the sefaretnames and seyahatnames remained from the representatives and ambassadors of the time points toward superiority of 4 It is a treatise about the Ottoman festivals in Turkish language. 5 They were male dancers cross-dressed in feminine attire, employed as entertainers in Ottoman.
4 the west in every single aspect (Hanioğlu, 1985: 1382). Music assemblages in Tulip Era can be seen in Figure 4 (Atıl, 1999: r.24). These years are marked by the Istanbullites, especially the women, getting out of their domestic spaces, joining the amusements, and later deployed as a subject of the songs of Tanburi Çavuş such as Küçüksu da Gördüm Seni. The works of Tanburi Mustafa Çavuş, one of the best composers of the song form, which is considered less of a caliber, are important indicators of the differentiation experience in this period. In the song of Küçüksu da Gördüm Seni, the lyrics is very understandable, melodic structure is very simple and lyrical. These are the first examples of city folk music. Following the Tulip Era in the first half of the 18 th century, the Selim III Era, or even the école, becomes the peak point for the Ottoman-Turkish Music. During the reign of Selim III for 18 years ( ) new makams and new horizons were the focus of researches among the whole rush of new compositions (Berker, 1985: 157). Selim III, the founder of Nizamı-ı Cedid 6 meaning new order or modern order in politics and military, is the sultan of an école that is successful in bringing the traditional form to its top position as well as adding a new understanding to the elements in this tradition. His reign characterizes the first important political, military and diplomatic as well as the musical approach to Europe. It can also be stipulated that the westernization movements take their first significant step into the court with Selim III in that both the tradition acquires a new face and new elements are adapted to the court music. Figure 4: Miniature from Surnâme-i Vehbi, work of Levnî, in the Tulip Era. The musical movements in the period of Selim III, which can be defined as an école 7, is such a turning point in the historical process of the traditional form that is not only comprised of the main elements that precede itself but also of new makams and forms since the 6 Nizam-ı Cedid, which means new order, was used for two different meanings. As the first designates the trained soldier educated in Europe in the time of Selim III, the second points towards the whole enterprise of Selim III characterized by his will to demolish the Janissaries, break away the authority of the ulema (the prominent people) and the innovation attempts which are aimed to make the Ottomans a part of the science, art, agriculture and commerce developments of Europe (Karal, 1988: 61). 7 The usage of such a word to describe the period of Selim III does not come from a musical understanding he creates but rather from the support he gives to artists and from his musical contribution to these supports.
5 westernization concept, thus emerged in the political and military life in the first place, has already found its way to the cultural and artistic life. In this regard, this era can also be viewed as the period of the cedid s. The patronage of the studies in the fields of makam, form, musical writing and theory, which was initiated in the period of Ahmet III, hits the climax with the Selim III école. As there are traditional composers such as İsmail Dede Efendi ( ), Şakir Ağa ( ) in the école of Selim III, we also notice the existence of composers like Basmacı Abdi Efendi, Tahir Ağa, Kemani Ali Ağa, Numan Ağa who value the song form or the köçekçe or tavşanca, which are basically the types of dance music, and İsmail Dede Efendi and Selim III who combine the traditional and the new forms. The studies on makam, notes and theory in the period of Selim III and the entrance of western forms into the court can be thought as the impact of the western understanding of the time on music. The reform attempts of Selim III, who is viewed as progressive and reformist composer and is known for the piano and harp concerts he organized in the courts with the operettas from France. Yet historians state that the sultan, known for his grace and artistic inclinations, end up in a failure in his reform attempts due to his such qualities, and later is dethroned and murdered (Beşiroğlu, 1993: s.15). Dede Efendi, who takes place within the école of Selim III, needs a careful elaboration on this issue. The so-called folk music works of Dede Efendi, the composer of as diverse forms as Mevlevî rituals, kâr, köçekçe, beste and the 3/4 song form, are indeed works that belong to Istanbul. İsmail Dede Efendi continues to be a court musician following the decease of Selim III during the reigns of Mahmut II and Abdülmecit. But the time Abdülmecit was in power become the years that witness the drift away of the prominent musician and composer who was treated with a great respect by Mahmut II as well after Selim III. We will deal with shortly. During those years the westernization trend will assume a different shape for itself in the court to bring the social life and the military to an order. Mahmut II ( ) pulls down the whole institution of the Janissaries who serve as a focal threat to the reforms in the Ottomans, renders the contemporary armies formed during the time of Selim III as the essence of the military units (Mardin, 2002: 11 12), hence opens up a relatively unbarred path for the reforms to be enacted (Kunt, 1997: 93). The abolition of the Janissaries by Mahmut later leads to the repeal of Mehterhane, which is replaced with Mızıka-i Hümayun, a military musical education and performance institution, in 1826 possessing the identity of musical band (See figure 5). Figure 5: Mehterhane replaced by Mızıka-i Hümayun, having the identity of musical ensemble ( Bahriye Sıbyan Muzıkası (Malumat Mecmuası, 1909) The setting up of the first orchestra in the court with a western identity and later turning into the sole military education institution of the court can be seen as the one-to-one effect of the westernization on the court. The arrival of the Italian chief Donizetti who will later teach Hamparsum, the musical writing of the period, and the western musical notes to the whole musical ensemble should also be kept in mind as a key point since Donizetti will ease the
6 path the western musical note actively and dominantly enters into the court as of the 17 th century (See figure 6). The reaction to the whole westernization enterprise, on the other hand, can be said to take place on a large scale. The period of Mahmut II displays a theme in which the administration and the state, in time, tend to be biased toward encouraging and backing up the western music more than ever in time. In the period of Abdülmecit; however, everything takes on a different shape and path. Although Dede Efendi received considerable respect from the great uncle and father of Abdülmecit, the magnificent composer will be asked to compose light and brisk works rather than something declamatory. As Dede leaves the palace with an excuse for pilgrimage purposes, he mumbles his famous this game started to wear thin words indicating the weakening support of Ottoman-Turkish music by the court (Pekin, 1999). After this stage, the westernization movement bluntly revealed its effects during the time of Abdülmecit distinctly favoring the west tones over the east lineage as the sole thing heard within the walls of the court became the orchestra. The French musician Litsz composed an anthem for the sultan along with the many other artists invited to Istanbul. Figure 6: Donizetti (Gazimihal, 1955: 47) and Hamparsum Notation: III. Selim s Suzidilara Peşrevi Musical plays and operettas began to be staged in the French Theatre opened in Istnabul in Such representations coming from the west enriched the polyphonic musical and the famous Italian operas were staged in the Naum Theatre in 1840 s. The theatre built in Yıldız following the order of Abdülhamit was also for hosting such plays (Manrtan, 2000: 190) We can mention two important reactions in the court to the westernization currents. The biggest one was the impact this movement had on many of the composers, the example and the greatest proof of which can be viewed as the Yine Bir Gülnihâl of Dede Efendi composed in the ¾ waltz rhythm (See figure 7). One other reaction was the outcome that the Turkish music performers and composers had to continue their professions outside the court due to the fading support for them from the court. Turkish Music, the unaccepted music in the court, chose the places of city folk music. The city folk music, which continued since the Tulip Era due to the great interest of the Istanbullites, was later accompanied by the kaba saz ensembles consisting of hanendes (singers), sazendes (instrument players), köçeks, tavşans 8 and çengis 9 as a result of the performances alongside with dance in the mesires (popular excursion spots), coffeehouses and meyhanes (Aksoy, 1999: 807). 8 They were male dancers cross-dressed like rabbit, employed as entertainers in Ottoman.
7 Figure 7: The first part and refrain of Yine Bir Gülnihâl As the western music was performed in the court, ince saz and kaba saz ensembles were espoused among the Istanbul public. Yet, the westernization current was always restricted with the court and never was able to pour itself out of the walls of the court. The shift of the performing places from the court into the city is the major proof of the reactions to the westernization in the Ottoman Court Music Identity. Figure 8: Enderunî Fazıl, a poet of Divan literature, wrote a book. It was called as Hubânname and Zenannâme in The book includes a fresco, in which there was an old Istanbul Meyhane (Bar Room); some musicians were playing the kemenche and lute and a tavşan (a kind of dancer) was dancing. In conclusion, the whole experience of the Ottomans starting from the Tulip Era marks a significant wave of adopting the Western style in its institutions. Although this is simply an acceptance of the strength of the West in terms of its technological innovation, the traces of this 9 They were female dancers, employed as entertainers in Ottoman Seraglio.
8 current, in time, transgress into the field of court music, which is basically the main circle where the music springs from to the public in the Ottomans. Nevertheless, in this paper, it is important to evade the simplistic notion of viewing westernization as a process that totally changed and transformed the Ottoman culture, let alone the court music. Until the time the Turkish Republic is established, when the whole transformation project by the state will be initiated, the operation of the idea of the west will be restricted with the elitist circles and not blend into the public. The west will mostly remain side by side with the traditional institutions. Even if in Traditional Turkish Music big forms and big rhythms were used in a less dense manner, the traditional music continued with a new conception. Although with the westernization Turkish Music fell into contempt in the court and this approach continued in the Republic Era, by the courtesy of composers, which were the symbols of the traditional école, it was recovered to adopt a new view, and due to the interest in and love for their music outside the court, Ottoman and Turkish music is carried along to the 20 th century. REFERENCES AKSOY, Bülent (1999). Osmanlı Musiki Geleneği nde Kadın, Osmanlı Kültür ve Sanat Encyclopedia, S. 10, s AND, Metin (1982). Osmanlı Şenliklerinde Türk Sanatları, Ankara: Ministry of Culture and Tourism Press. ATIL, Esin (1999). Levni ve Surname, İstanbul: Koçbank Press. BEŞİROĞLU, Şehvar (1993). III. Selim Devri nin Müzik ve Müzisyenler Açısından İncelenmesi, Sanatta Yeterlilik Thesis, Istanbul: Istanbul Technical University Social Sciences Institute. BERKER, Ercümend (1985). Türk Musikisinde Dönemler, Erdem, S. 1, s ELÇİN Şükrü (1975). Ali Ufki-Mecmua-i Saz ü Söz, Ankara: Ministry of Culture Press. HANİOĞLU, Şükrü (1985). Batıcılık, Tanzimattan Günümüze Türkiye Encyclopedia, İletişim Press, ATASOY, Nurhan (1997) Surname-i Hümayun: Düğün Kitabı, İstanbul: Koçbank. KARAL, Enver Ziya (1988). Osmanlı Tarihi, Nizam-ı Cedid ve Tanzimat Devirleri ( ), c.5, Ankara: TTKY. KUNT, Metin, AKŞİN, Sina, TOPRAK, Zafer ve ÖDEKAN, Ayla, (1997). Türkiye Tarihi III- Osmanlı Devleti , Istanbul: Cem Press. MARDİN, Şerif (2002). Türk Modernleşmesi, Istanbul: İletişim Press. MANTRAN, Robert (2000). Osmanlı İmparatorluğu Tarihi II, (trans. Server Tanilli), Istanbul: Adam Press. ÖZCAN, Nuri (1997). XV C XVI. Yüzyıllarda Türk Dünyasında Musiki, XV ve XVI. Asırları Türk Asrı Yapan Değerler, Islamic Sciences Research Foundation, Ensar Press, S. November, s PEKİN, Ersu (1999). Sultani Bestekarlar, CD/ Booklet, Istanbul: Kalan Music.
New Asian Empires 1200-1800 1. The Ottoman Empire and Safavid Empires 2. The Mughal Empire 3. The Ming and the Qing Dynasty 4. Medieval Japan and Korea In Asia, the period from 1200 to 1800, was a time
The Ottoman Empire Crest of the Ottoman Empire Introduction Lasted 641 years!! (1281-1922) Longest dynasty in history Largest Islamic empire since the Abbasid Caliphate. Highly centralized, technologically
Importance of Italian Musicians in the Training if Turkish Military Music in the Imperial Music with Giuseppe Donizetti as Maestro and the Present State if Turkish Military Music Oğuz Karakaya email@example.com
Te Puna Puoru National Centre for Research in Music Education and Sound Arts (MERC) invites you to contribute to the national database of research in music education and sound arts. Fill in the template
Chapter 15- The Muslim Empires Ottoman Empire Turks- groups from central Asia, spread west 9 th -11 th centuries Seljuk Turks took over Abbasid caliphate, enemies of Byzantines Ottoman Turks- Osman rewarded
THE OTTOMAN EMPIRE Origins of the Ottoman Empire After Muhammad s death in 632 A.D., Muslim faith & power spread throughout Middle East Islam Map By 1215, foreign invaders (Mongols from eastern Asia) took
SPECIAL DAYS, FESTIVALS and HOLIDAYS in TURKEY Feast of the Sacrifice (October 15 18, 2013) In Turkey, every year two religious festivals are celebrated: Ramadan and the Feast of the Sacrifice. Both of
Students will: Personal Choice and Vision: Students construct and solve problems of personal relevance and interest when expressing themselves through A. Demonstrate how musical elements communicate meaning
POLS 203 History of Modern Turkey I Fridays 10:00-12:50 / GRAD 215 Instructor : Assist. Prof. Hakkı Taş E-mail : firstname.lastname@example.org Office & Phone : GRAD 202 & ext. 4633 Office Hours : Thursday 10:30-12:30,
MAIN IDEAS NOTES Rise of the Ottoman Turks Expansion of the Ottoman Empire (p. 484) Late 13 th Century the Turks were ruled by a leader called Osman 1.) Late 1200s = Ottoman Turks controlled Osman Turks
European Journal of Business and Social Sciences, Vol. 1, No. 8, pp 50-55, November 2012. URL: http://www.ejbss.com/recent.aspx ISSN: 2235-767X SUCCESS FACTOR FOR EDUCATIONAL ADMINISTRATION OF MUSIC CONSERVATORIES
SPECIMEN MATERIAL GCSE MUSIC 8271 Specimen 2018 Time allowed: 1 hour 30 minutes General Certificate of Secondary Education Instructions Use black ink or black ball-point pen. You may use pencil for music
Musical Instruments in Turkey Overview: Modern Turkey is a fascinating place. It has been the home for many different civilizations, and now has the rich socio-cultural heritage you would expect from such
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects 2016 Senior Concert I: A Quiet Departure/Senior Concert II: 6 Statements Matthew Charles Dowden Bard College
MUSIC FOUNDATION ACCREDITED BY UNIVERSITY OF THE ARTS LONDON AWARDING BODY THE MUSIC FOUNDATION REALLY PREPARES YOU FOR THE NEXT STEPS, FOR UNIVERSITY OR CONSERVATOIRE. THE STAFF ARE REALLY FLEXIBLE AND
PGCE Secondary Music Subject Knowledge Audit Name:...... Example Trainee............................................ First Degree Title:...................................... Name of First Degree Institution:...................................
CURRICULUM VITAE Proposed role in the project: Contact person for the General Directorate of Fine Arts of Turkish Ministry of Culture 1. Family name : Güray 2. First names : Cenk 3. Date of birth : 30.03.1973
Chapter 16 Sonata and Suite TRUE/FALSE 1. The harpsichord is not as touch-sensitive an instrument as the piano. ANS: T REF: Chapter 16, "The Harpsichord", pg. 116 2. Arcangelo Corelli could have been considered
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2014 by the Washington Professional Educator Standards Board 1 Washington Educator
In General To interpret the music in dancing boogie woogie the dancer have to know something about the music form. Boogie Woogie music is mostly played in blues schemes. Sometimes you can find swing scheme.
NMC MUSIC MAJOR STUDENT HANDBOOK MUSIC Table of Contents PROGRAM SUMMARY... 2 GENERAL INFORMATION Accompanists... 3 Applied Music... 3 Convocations... 3 Ensembles... 3 Instrument Lockers... 3 Juries...
Mexican-American History (MAS 141 142) fulfills the American Institutions requirement at San Diego State University and most other campuses of the California State University and Colleges System. DEGREE/CERTIFICATE
M M A P M U S I C P R O D U C T I O N D e f i n i t i o n o f T e r m s S U S T A I N I N G A N D E N H A N C I N G M U S I C A L D I V E R S I T Y THIS IMPLIES CONTINUITY AND AFFIRMATIVE ACTION IN ENABLING
VOL. 6 Aug. 2014 No.2 HUFS GLOBAL LAW REVIEW The Historical Development of Turkish Law Murat ŞEN *65 Throughout history there have been different legal systems, states and nations had their own separate
Life Dates: 1840-1893 Country of Origin: Russia Musical Era: Romantic I grew up in a quiet spot and was saturated from earliest childhood with the wonderful beauty of Russian popular song. I am therefore
Sample Entrance Test for CR125-129 (BA in Popular Music) A very exciting future awaits everybody who is or will be part of the Cork School of Music BA in Popular Music CR125 CR126 CR127 CR128 CR129 Electric
At a glance Associate Professor Brydie-Leigh Bartleet from Griffith s Queensland Conservatorium has been named 2014 Australian University Teacher of the Year. es: Students: 800+ Research and Centres: 1
Week 7 Lecture Notes p.1 Style Periods of Western Music Middle Ages 400-1450 Early Christian Period 400-600 Gregorian Chant 600-850 Romanesque Period Development of Polyphony 850-1150 Gothic Period 1150
Blues and Beyond MUH 2116 Evolution of Jazz Errol Rackipov The Origin The Roots Not from Africa; developed in America by American slaves and their descendants Field hollers (cries) Ballads, from European
EYÜPSULTAN: A SCHOOL OF MUSIC (AN ECOLE) IN THE HISTORY OF TURKISH MUSIC Assoc. Prof. Dr. Cahit ATASOY Dr. Cahit Atasoy was born in 1926 in Trabzon. He died in 2002. He is a faculty member in the State
Copyright 2003 by Pearson Education, Inc., publishing as Prentice Hall, Upper Saddle River, NJ. All rights reserved. Chapter 11, Section World History: Connection to Today Chapter 11 The Muslim World (622
World History Chapter 11 The Muslim World (622 1650) Session 1 Rise of Islam How did Muhammad become the prophet of Islam? What are the teachings of Islam? How did Islam help shape the way of life of its
Music Journal Prompts 2014 2015 Directions: Respond to the music journal prompts using your own paper. A minimum of three paragraphs is required to receive full credit. Journal responses are due at the
2015-1 6 A d m i s s i o n s Westminster Conservatory The Community Music School of Westminster College of the Arts of Rider University The Honors Music Program The Honors Music Program (HMP) is Westminster
Grade 6 Band This elective course is open to all students in grade six that have completed one previous year of band instruction, or can demonstrate an equivalency at the discretion of the director. The
Synthesis: The European project of The New band What is the Nantes Europe Express? The Nantes Europe Express is a French association which aims at promoting the emergence of a European identity through
HEALTH FACILITIES IN BOSNIA-HERZOGEVINA IN THE LIGHT OF OTTOMAN DOCUMENTS Arzu KARASLAN Batman University, Turkey Introduction From past to the present cities seem to be the centers of social, economic,
Music Standards of Learning for Virginia Public Schools Board of Education Commonwealth of Virginia April 2006 Music Standards of Learning for Virginia Public Schools Adopted in April 2006 by the Board
HUSEYIN YILMAZ Department of History University of South Florida 4202 East Fowler Ave, SOC 107 Tampa, FL 33620-8100 Phone: 813-974-0508 Fax: 813-974-6228 Email: email@example.com http://history.usf.edu/faculty/hyilmaz/
North Carolina s Kindergarten Music Note on Numbering/Strands: ML Musical Literacy, MR Musical Response, CR Contextual Relevancy Musical Literacy K.ML.1 Apply the elements of music and musical techniques
St. Anthony Educational Foundation Grant Application Cover Sheet Number Contact Information: Primary Applicant: REDACTED Chapter and Year: REDACTED Co-Applicants (include chapters and years of co-applicants
application for music major and worship leadership minor 2 audition procedure for bachelor of arts in music and bachelor of music degrees Students accepted into the Music Major Program at ORU are required
8/15/14 Bachel of Music Perfmance Piano Accompanying C50107BM The following infmation has official approval of the School of Music, but is intended only as a supplemental guide. Official degree requirements
NIRVANA PROJECT AYSEDENIZ GOKCIN WITH IVAN SHOPOV #NirvanaProject describes the last five years of Kurt Cobain s life. Dancer Ekin Bernay symbolises Kurt Cobain s spirit, his wife, his child, and the characters
Music in Early America Part 1 When the first settlers of the United States came from England and other countries in Europe they brought with them a love of music making, just as people enjoy playing music
4-H and Youth Development Here s What You Can Learn The music project lets you explore music as part of your everyday life, whether or not you are currently studying music. As you learn more about music,
TURKISH ECONOMIC ASSOCIATION DISCUSSION PAPER 2004/3 http://www.tek.org.tr INFLATION DYNAMICS AND ITS SOURCES IN THE OTTOMAN EMPIRE: 1586-1913 Hakan Berument and Aslı Günay February, 2004 Inflation Dynamics
Summit Public Schools Summit, New Jersey High School Concert Band Revised by Steven Rapp 2012 Summit High School Concert Band: Grade Level 9 th -12 th Content Area: Performing Arts Length of Course: Full
Ohio Standards Connection Fine Arts Music Connections, Relationships and Applications Benchmark D Identify various careers in music. Indicator 7 Identify various careers for musicians (e.g., in education,
Hosting Big Events How Airbnb helps cities open their doors Big events are big business for destinations around the world. As event organizers and destination managers bid for, win and host events, they
Code Content Statement Item Specifications Depth of Knowledge Essence S1C1-1 Singing rounds on pitch with an appropriate tone quality. Performance based assessment only Total physical response assessment:
1 Instructions: The questions are divided by kiosk topics, and the kiosk title is at the top of each section. INTRODUCTION Section Fill in the blanks: 1. American roots music rises out of America s story
HOCHSCHULE FÜR MUSIK UND THEATER Répétiteur Training Piano Chamber Music Lied interpretation Programmes of study: Bachelor of Music Fields of orientation: Duration of study programme: Degree earned: Area
Florida Performing Fine Arts Assessment Item Specifications 1302500_Jazz_Ensemble_1_Responding FRONT MATTER - SECONDARY Stimulus Attributes Response Attributes Written questions should be at grade level
Prof. Ataman DEMİR Interior Architecture Department firstname.lastname@example.org Prof. Ataman Demir was born in İzmir-Karşıyaka in 1938 and completed his primary and secondary education there. He started
HOWARD COUNTY PUBLIC SCHOOLS GUITAR I, II, and III / IV GOALS AND OBJECTIVES GOAL I: PERCEIVING, PERFORMING, AND RESPONDING: AESTHETICS The student will demonstrate the ability to perceive, perform, and
Copyright Do s and Don ts: What Music Educators and School Administrators Need to Know By Alan Greiner, Executive Director, Iowa High School Music Association Revised: September 12, 2013 Copyright Do s
Content focus: Music Visual Arts Language Arts History/Social Sciences SCHEHERAZADE LESSON PLAN Discovering the world of the Arabian Nights fairy tales through the music of Rimsky-Korsakov s Scheherazade
Jazz Ties with the Women s Liberation of the Roaring Twenties Introduction This paper will discuss about American jazz history in the 1920 s and its relation to the Women s Liberation of the Roaring Twenties.
National Standards for Music Education 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising
History sample unit The (Depth Study 4: The Western and Islamic World) Stage 4 Duration: 5 6 weeks The overview may be programmed separately or integrated, where relevant, within this unit of work Detail:
Dr. Abdullah DEMİR Zirve University, Faculty of Law, Gaziantep, Turkey, (+90-342) 211 66 66 email@example.com Education PhD Marmara University 1999-2004 Institute of Social Sciences Departmant
Dear Theatre Artist: Thank you for your interest in the Academy for New Musical Theatre s Core Curriculum (the first year of the ANMT Writers Workshop program) at NMI/ANMT is a bustling workshop of over
THE TRANSFORMATION OF HOSUEHOLDS AND NEIGHBORHOODS IN 19TH CENTURY ISTANBUL Covered Bazaar, İstanbul, 15th century onwards Mustafa Ağa and Simon Kalfa, Nuruosmaniye Mosque, Istanbul, 1748-55 Mustafa Ağa
Sarfati, Aaron MIT 21M030 Ruckert December 7, 2006 The Samba Experience In examining and researching a foreign culture, there are two ways one may go about conducting the research: 1) reading and studying
In General To interpret the music in dancing boogie woogie the dancer have to know something about the music structure. Boogie Woogie music is mostly played in blues,swing or rock n roll schemes. It derived
International Conference on Humanities and Social Science (HSS 2016) The Influence of Renaissance and Religious Reform on the Development of Music and Art Style Jenny YU No.93 Jingsan Road, Zhengzhou 450000,
I would like to introduce you to a wonderful chateau. This chateau s problem is that it used to be a hospital and it is now part of a larger hospital complex which decided 10 years ago to abandon it and
2- TRANSFORMATION OF THE OTTOMAN EMPIRE 2.1. Transformation of the Institutions and Laws During the nineteenth century, a fundamental cultural change took place in the Ottoman Empire, in relation to European
STATE SANCTIONED PERSECUTION OF JEWS IN EGYPT (From Research conducted at the UNHCR Archives in Geneva) by Stanley A. Urman June, 2003 (PLEASE NOTE: This does not represent an exhaustive survey but rather
The University of Alabama in Huntsville 1 Music B102 Roberts Hall Telephone: 256.824.6436 Email: firstname.lastname@example.org The University of Alabama in Huntsville is an accredited institutional member of the
Antonín Dvořák Life Dates: 1841-1904 Nationality: Czech Period: Late Romantic I should be glad if something occurred to me as a main idea that occurs to Dvořák only by the way. Johannes Brahms (1833-97)
Islam Outcome: Islamic Empires Constructive Response Question 3.Who were the Ottomans, Mughals, and Safavids? What will we learn? 1.Islamic culture 2.The Ottoman Empire 3.The Mughals 4.The Safavids Islamic
Turning the Eyes of the World on Okinawa, Sending the Spirit of Okinawa to the World The Okinawa G8 Summit Host Preparation Council will host a welcome reception for the Summit leaders visiting Okinawa
Subject: History of American Pop Music Grade Level 10-12 #6 Listen, analyze and describe music analyze aural examples of varied repertoire of American popular music styles including: minstrelsy, ragtime,