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Miniature of dancers and musicians performing at a circumcision ceremony.Dated 1530 from the Süleymanname. While it is well established that Ottoman music is closely related to its geographical neighbors, namely Byzantine, Persian and Arabic music, [9] early histories of Ottoman classical music, called "mythologies" by Feldman, emphasize a sense of continuity, as opposed to a synthesis of ...
By 1976, Turkish classical music had undergone a renaissance and a state musical conservatory in Istanbul was founded to give classical musicians the same support as folk musicians. Modern-day advocates of Western classical music in Turkey include Fazıl Say, İdil Biret, Suna Kan, the Önder Sisters and the Pekinel sisters.
This is a list of Classical Turkish Music composers in alphabetical order: A. Abdurrahman Bahir Efendi (Arabzade) - 1746; Abdülkadir Meragi - 1435; Ahmet Uzel;
The Turkish makam (Turkish: makam pl. makamlar; from the Arabic word maqam مقام) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (cinsler meaning genera) and melodic development (seyir). [1]
The Turkish Five; Cemal Reşit Rey (1904–1985), symphonic music, operas, chamber music, operettas and musicals; Ulvi Cemal Erkin (1906–1972), symphonic music, choral music, solo piano, chamber music; Ahmed Adnan Saygun (1907–1991), symphonic music, oratorio, choral music, chamber music, opera, ballet music; Bülent Arel (1919–1990)
Turkish music, in the sense described here, is not the music of Turkey, but rather a musical style that was occasionally used by the European composers of the Classical music era. This music was modelled—though often only distantly—on the music of Turkish military bands, specifically the Janissary bands .
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Peşrevs are named after the Turkish makam used in the first hane and usually end with this makam; in Turkish classical music theory, they are said to be "bound" to this makam. There are always modulations to other makams in the hane s that follow the first hane , but with the refrain ( teslim ), the piece always regains the principal mode.
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