Greek Orthodox Music in Ottoman Istanbul

Merih Erol

Description

View accompanying audiovisual materials for the book at Ethnomusicology Multimedia

During the late Ottoman period (1856–1922), a time of contestation about imperial policy toward minority groups, music helped the Ottoman Greeks in Istanbul define themselves as a distinct cultural group. A part of the largest non-Muslim minority within a multi-ethnic and multi-religious empire, the Greek Orthodox educated elite engaged in heated discussions about their cultural identity, Byzantine heritage, and prospects for the future, at the heart of which were debates about the place of traditional liturgical music in a community that was confronting modernity and westernization. Merih Erol draws on archival evidence from ecclesiastical and lay sources dealing with understandings of Byzantine music and history, forms of religious chanting, the life stories of individual cantors, and other popular and scholarly sources of the period. Audio examples keyed to the text are available online.

Introduction
1. The City's Greek Orthodox: An Overview
2. Liturgical Music and the Middle Class
3. Confronting the Musical Past
4. The Music Debate and Tradition
5. Music and National Identity
6. Singing and Political Allegiance
Conclusion

Sujets

• Political Ideologies
• Middle Est
• HISTORY
• POLITICAL SCIENCE
• Histoire
• Ismaili
• MUSIC
• Multiple signal classification
• History of the Middle East
• Ismailism
• Ethnomusicology
• Ottoman Empire
• Nationalism
• Middle East
• Central Asia
• Turkey

Informations

• Publié par: Indiana University Press
• Date de parution: 07 décembre 2015
• Nombre de lectures: 0
• EAN13: 9780253018427
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

GREEK ORTHODOX MUSIC IN OTTOMAN ISTANBUL
Ethnomusicology Multimedia
Ethnomusicology Multimedia (EM) is a collaborative publishing program, developed with funding from the Andrew W. Mellon Foundation, to identify and publish first books in ethnomusicology, accompanied by supplemental audiovisual materials online at www.ethnomultimedia.org .
A collaboration of the presses at Indiana and Temple universities, EM is an innovative, entrepreneurial, and cooperative effort to expand publishing opportunities for emerging scholars in ethnomusicology and to increase audience reach by using common resources available to the presses through support from the Andrew W. Mellon Foundation. Each press acquires and develops EM books according to its own profile and editorial criteria.
EM s most innovative features are its web-based components, which include a password-protected Annotation Management System (AMS) where authors can upload peer-reviewed audio, video, and static image content for editing and annotation and key the selections to corresponding references in their texts; a public site for viewing the web content, www.ethnomultimedia.org , with links to publishers websites for information about the accompanying books; and the Avalon Media System, which hosts video and audio content for the website. The AMS and website were designed and built by the Institute for Digital Arts and Humanities at Indiana University. Avalon was designed and built by the libraries at Indiana University and Northwestern University with support from the Institute of Museum and Library Services. The Indiana University Libraries hosts the website and the Indiana University Archives of Traditional Music (ATM) provides archiving and preservation services for the EM online content.
GREEK ORTHODOX MUSIC IN OTTOMAN ISTANBUL
Nation and Community in the Era of Reform
Merih Erol
Indiana University Press
Bloomington and Indianapolis
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
2015 by Merih Erol
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Cataloging information is available from the Library of Congress.
ISBN 978-0-253-01833-5 (cloth)
ISBN 978-0-253-01842-7 (ebook)
1 2 3 4 5 20 19 18 17 16 15
To my dear parents
And in memory of Vangelis Kechriotis
(1969-2015)
Contents
Ethnomusicology Multimedia Series Preface
Preface
Acknowledgments
A Note on Pronunciation and Transliteration
Introduction
1 The City s Greek Orthodox: An Overview
2 Liturgical Music and the Middle Class
3 Confronting the Musical Past
4 The Music Debate and Tradition
5 Music and National Identity
6 Singing and Political Allegiance
Conclusion
Notes
Bibliography
Index
Ethnomusicology Multimedia Series Preface
Guide to Online Media Examples
Each of the audio, video, or still-image media examples listed below is associated with specific passages in this book, and each example has been assigned a unique Persistent Uniform Resource Locator, or PURL. The PURL identifies a specific audio, video, or still-image media example on the Ethnomusicology Multimedia website, www.ethnomultimedia.org . Within the text of the book, a PURL number in parentheses functions like a citation and immediately follows the text to which it refers (e.g., PURL 3.1). The numbers following the acronym PURL refer to the chapter in which the media example is found and the number of PURLs contained in that chapter. For example, PURL 3.1 refers to the first media example found in chapter 3 , PURL 3.2 refers to the second media example found in chapter 3 , and so on.
To access all media associated with this book, readers must first create a free account by going to the Ethnomusicology Multimedia Project website www.ethnomultimedia.org and clicking the Sign In link. Readers will be required to read and electronically sign an End Users License Agreement (EULA) the first time they access a media example on the website. After logging in to the site, there are two ways to access and play back audio, video, or still-image media examples. In the Search field, enter the name of the author to be taken to a web page with information about the book and the author as well as a playlist of all media examples associated with the book. To access a specific media example, in the Search field enter the six-digit PURL identifier of the example (the six digits located at the end of the full PURL address below). The reader will be taken to the web page containing that media example, as well as to a playlist of all the other media examples related to the book. Readers of the electronic edition of this book will simply click on the PURL address for each media example; once they have logged in to www.ethnomultimedia.org , this live link will take them directly to the media example on the Ethnomusicology Multimedia website.
List of PURLs
Chapter 2
PURL 2.1 nastase s mera. ( 78 RPM Orfeon-Odeon [1914-1926]. Byzantine Music. The Protopsaltis of the Holy Great Church of Christ Iakovos Nafpliotis . Research and texts by Prof. Dr. Antonios E. Alygizakes. Istanbul: Kalan M zik, 2008.) http://purl.dlib.indiana.edu/iudl/em/Erol/910298
PURL 2.2 H seyni a r semai, composed by Zakharia Hanende (eighteenth century). ( Hanende Zaharya. En Chordais Music Ensemble . Istanbul: Kalan M zik, 2005.) Live recording at the Athens Concert Hall in 2000. http://purl.dlib.indiana.edu/iudl/em/Erol/910299
PURL 2.3 T n Pagkosmion Doxan (Hymn at the Glory of the stich ra of Vespers in the 1st chos ), composed by Zakharia Hanende. ( Hanende Zaharya. En Chordais Music Ensemble . Istanbul: Kalan M zik, 2005.) http://purl.dlib.indiana.edu/iudl/em/Erol/910300
Chapter 3
PURL 3.1 Hymne Chr tienne d Oxyrhynchus (Egypte). Hymn to Trinity from the 3rd/4th c. AD. ( Musique de la Gr ce Antique . Burbank, CA: Harmonia Mundi, 1979.) http://purl.dlib.indiana.edu/iudl/em/Erol/910305
Chapter 4
PURL 4.1 Krat ma, chos 4th legetos, composed by Petros Peloponnesios (1730-1778). ( Petros Peloponnesios . Thessaloniki: Music Ensemble En Chordais, 2005.) http://purl.dlib.indiana.edu/iudl/em/Erol/910301
Chapter 5
PURL 5.1 Oti s t ra etekes, chos barus. Krat ma from Hymn to the Virgin Mary of Petros Bereketis. ( . 3 . [Monuments of ecclesiastical music: 3 Theotoke Parthene of Petros Bereketis]. Chanted by Thrasuboulos Stanitsas, Research by Manolis K. Hatziyakoumis. Athens: Research and Publications Center, 2001.) http://purl.dlib.indiana.edu/iudl/em/Erol/910302
PURL 5.2 Axion estin (enarmonion). ( 78 RPM Orfeon-Odeon [1914-1926]. Byzantine Music. The Protopsaltis of the Holy Great Church of Christ Iakovos Nafpliotis . Research and texts by Prof. Dr. Antonios E. Alygizakes. Istanbul: Kalan M zik, 2008.) http://purl.dlib.indiana.edu/iudl/em/Erol/910303
PURL 5.3 1er Hymne Delphique Apollon. ( Musique de la Gr ce Antique . Burbank, CA: Harmonia Mundi, 1979.) http://purl.dlib.indiana.edu/iudl/em/Erol/910304
PURL 5.4 Apopsi ta mesanychta (Tonight at midnight), song from Sinasos, in the album Songs of Cappadocia , Friends of the M.F.A., Center for Asia Minor Studies, 2002, sung by Anastasia Chourmouziad , recorded in 1930. (This song is included in Georgios D. Pachtikos s folk-song collection 260 , , , , , , , [1888-1904] [260 Greek folk songs from the mouth of the Greek folk of Asia Minor, Thrace, Macedonia, Epirus and Albania, Greece, Crete, the Aegean Islands, Cyprus, and the coasts of Marmara, collected and notated, 1888-1904].) http://purl.dlib.indiana.edu/iudl/em/Erol/910306
Preface
I N S EPTEMBER 2000, when I assumed the role of translator between the Greek oud player Christos Tsiamoul s and the Turkish kanun player G ksel Baktagir, who was my kanun teacher, I had no idea this would be the beginning of a dilettante s curiosity about Greek music that would gradually turn into passion for a research topic. Tsiamoul s was visiting Istanbul with a group of nearly twenty students of the music school of Patras, all of whom were excited about visiting K nstantinoupol , the City whose privileged place in the memory of Greeks is beyond doubt. The students appetite for musical scores, CDs, and the diverse instruments of what was called in Greece paradosiak mousik (traditional music) was impressive. At that time, I did not speak a word of Greek; I was translating from Turkish to English and back again between the two musicians who wanted to collaborate for a future concert.
The next spring, the friendships established during this first encounter took me to Athens. This book contains much of the inspiration and enthusiasm fueled by the overwhelming impressions of that first visit, in addition to what I learned from hours spent in various libraries and archives. The first Greek Orthodox service I attended was the liturgy on Holy Thursday at the small eleventh-century Byzantine church Kapnikareas at the center of Athens. No less of a milestone was my joy and pride in learning the Greek alphabet by doin