|
Fasl-ı Cedid
The Fasl-ı Cedid (The New Fasıl) was a musical ensemble of Classical Turkish Music operating within the organization of the Ottoman Imperial Orchestra, specializing in performances of Fasıl. History The Fasl-ı Cedid was established by Santuri Hilmi Bey, a well-regarded musician in the Ottoman Imperial Court, with the endorsement of Sultan Mahmud II, as part of the reforms taking place in the Empire to westernize all government functions and institutions, including those relating to state-sponsored musical education. The Imperial orchestra split in two: the Fasl-i-Atik, playing classical fasil, and Fasl-ı Cedid, playing a more modern (Western) style with Western instruments. Structure The ensemble was typically made up of neys, flutes, and mandolins, variously complemented by violins, violoncellos, lutes, guitars, trombones and castanets. More traditional saz elements such as ouds, neys, kanuns and zills generally accompanied these instruments. The compositions performed f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ottoman Classical Music
Ottoman music () or Turkish classical music (, or more recently ) is the tradition of Art music, classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble. A tradition of music that reached its Golden Age, golden age around the early 18th century, Ottoman music traces its roots back to the music of the Hellenic Culture, Hellenic and Persianate society, Persianate world, a distinctive feature of which is the usage of a modal melodic system. This system, alternatively called ''Turkish makam, makam'', ''dastgah'' or ''echos'', is a large and varied system of melodic material, defining both scales and melodic contour. In Ottoman music alone, List of makams, more than 600 makams have been used so far, and out of these, at least 120 makams are in common use and formally defined. Rhythmically, Ottoman music uses the ''zaman'' and ''usûl'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canzone
Literally 'song' in Italian, a canzone (; : ''canzoni''; cognate with English ''to chant'') is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro. The term ''canzone'' is also used interchangeably with canzona, an important Italian instrumental form of the late 16th and early 17th century. Often works designated as such are ''canzoni da sonar''; these pieces are an important precursor to the sonata. Terminology was lax in the late Renaissance and early Baroque music periods, and what one composer might call "canzoni da sonar" might be termed "canzona" by another, or even " fantasia". In the work of some composers, such as Paolo Quagliati, the terms seem to have had no formal implication at all. Derived from the Pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saz Semâ'î
The ''saz semai'' (also spelled in Turkish as ''saz sema'i'', ''saz sema-i'', ''saz sema i'', ''saz semaī'', ''saz semâ'î'', ''sazsemai'', ''saz semaisi'', or ''sazsemaisi'' and in the Arab world as ''samâi'') is an instrumental form in Ottoman classical music. It was typically the closing movement of a ''fasıl'' (i.e. suite). The saz semai is metered and typically uses the usul (rhythmic structure) called ''aksak semai''. A saz semai is typically in 4 movements, called ''hane'' (lit. "house"), each movement followed by a '' teslim'' (refrain). The ''teslim'' and the first three ''hane'' are usually in rhythm structure 10/8, unlike the fourth ''hane'' which is usually in 6/4, 3/4, or 6/8. Common Saz Semaisi Some Saz Semaisi are very well-known and played in the all makam music area (From Greece to Iraq, and from Iraq to Morocco). Here a few of them : *Semâi al Thakil - also called : Arap saz semai. This samai is in makam Bayati. *Semâi Al-Aryan - also called : Samâ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peşrev
''Peşrev'' or Peshrev ( Turkish, "prelude"; pronounced ) is an instrumental form in Ottoman music. It is the name of the first piece of music played during a group performance called a fasıl (). It also serves as the penultimate piece of the ''Mevlevi ayini'', a ritual music of the Mevlevi Order, under the name ''son peşrev'' (final peşrev), preceding ''son semai''. It usually uses long rhythm cycles, stretching over many measures as opposed to the simpler usul the other major form of instrumental music uses, ''saz semai''. Along with the saz semai, called in Arabic the sama'i, it was introduced into Arabic music in the 19th century and became particularly popular in Egypt. Etymology In Ottoman Turkish, ''peşrev'' combines a New Persian loanword, ''piš'' "before, ahead" and the native term ''rev'', "that which goes". coming to mean "that which comes first". Structure Peşrevs are composed of movements called ''hane'' (lit. "house"), at the end of which there is always ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Scale
In Classical_music, Western classical music theory, the minor scale refers to three Scale (music), scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending). These scales contain all three notes of a minor triad: the root (chord), root, a minor third (rather than the major third, as in a Major chord, major triad or major scale), and a perfect fifth (rather than the tritone, diminished fifth, as in a diminished scale or half diminished scale). Minor scale is also used to refer to other scales with this property, such as the Dorian mode or the Pentatonic Scale#Minor pentatonic scale, minor pentatonic scale (see #Other minor scales, other minor scales below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth Degree (music), degree of its relative major, relative major scale. For instance, the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Scale
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats: The major scale has a central importance in Western music, particularly that of the common practice period and in popular music. In Carnatic music, it is known as '' Sankarabharanam''. In Hindustani classical music, it is known as '' Bilaval''. Structure A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: : whole, whole, half, whole, whole, whole, half where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Makam
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ''maqām'' ) 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''). Whether a fixed composition ('' beste'', '' şarkı'', '' peşrev'', '' âyin'', etc.) or a spontaneous composition ('' gazel'', '' taksim'', recitation of '' Kuran-ı Kerim'', '' Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Geographic and cultural relations The Turkish makam system has some corresponding relationships to maqams in Arabic music and '' echos'' in Byzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zill
Zills, zils, or sagat, also known as finger cymbals, are small metallic cymbals used in belly dance, belly dancing and similar performances. They are similar to Tibetan tingsha bells. In Western music, several pairs can be set in a frame to make a tambourine. Other names include ''nuqaisāt'' (after the ''Semantron#Naqus, naqus'') and ''ṣunnūj ṣaghīra'' in Arabic, ''sanj angshati'' in Persian, ''çeng'' in Turkish. History Zills, or finger cymbals, are part of a family of musical instruments known as ''clappers''. Clappers are musical instruments made of wood, bone, metal, and other substances that are played by being struck against each other. Clappers come in pairs and are often held in the hands, fastened together, or strapped to the performer's fingers. The clapper family also includes spoons, bones and castanets. One of the earliest forms of clappers are wooden ''krotala'' already present in Greece around 500 BC. Ancient Greek potteries depict men and women celebr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanun (instrument)
The qanun, kanun, ganoun or kanoon (; ; ; , ''qanun''; , ''qānūn''; ; ; ) is a Middle Eastern string instrument played either solo, or more often as part of an ensemble, in much of Iran, Arab East, and Arab Maghreb region of North Africa, later it reached West Africa, Central Asia due to Arab migration. It was also common in ancient (and modern-day) Armenia, and Greece. The name derives ultimately from Ancient Greek: κανών kanōn, meaning "rule, law, norm, principle". The qanun traces one of its origins to a stringed Assyrian instrument from the Old Assyrian Empire, specifically from the nineteenth century BC in Mesopotamia. This instrument came inscribed on a box of elephant ivory found in the old Assyrian capital Nimrud (ancient name: ''Caleh''). The instrument is a type of large zither with a thin trapezoidal soundboard that is famous for its unique melodramatic sound. Etymology The name derives ultimately . The qanun traces one of its origins to a stringed Assy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Castanet
Castanets, also known as ''clackers'' or ''palillos'', are a percussion instrument ( idiophonic), used in Spanish, Calé, Moorish, Ottoman, Greek, Italian, Mexican, Sephardic, Portuguese, Filipino, Brazilian, and Swiss music. In ancient Greece and ancient Rome there was a similar instrument called the '' crotalum''. The instrument consists of a pair of concave shells joined on one edge by a string. They are held in the hand and used to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks. They are traditionally made of hardwood (chestnut; Spanish: ''castaño''), although fibreglass has become increasingly popular. In practice, a player usually uses two pairs of castanets. One pair is held in each hand, with the string hooked over the thumb and the castanets resting on the palm with the fingers bent over to support the other side. Each pair will make a sound of a slightly different pitch. The slightly lower one usual ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
