Notation Methods and Reference Systems: On the Phenomenon of Cultural Translation in the Eastern Mediterranean
Each cultural group has an individual-specific music-theoretical, as well as music-historical background, so that the cultural intersection of Ottoman art music is considered from different perspectives. Using Greek sources from the 18th and 19th centuries as examples, this contribution is devoted t...
| Autore principale: | |
|---|---|
| Tipo di documento: | Elettronico Articolo |
| Lingua: | Inglese |
| Verificare la disponibilità: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Pubblicazione: |
2023
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| In: |
Oriens
Anno: 2023, Volume: 51, Fascicolo: 1/2, Pagine: 177-196 |
| Altre parole chiave: | B
Critical Edition
B Cultural Translation B Greek music theory B Ottoman art music B pitch system |
| Accesso online: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Each cultural group has an individual-specific music-theoretical, as well as music-historical background, so that the cultural intersection of Ottoman art music is considered from different perspectives. Using Greek sources from the 18th and 19th centuries as examples, this contribution is devoted to the phenomenon of cultural translation that accompanies the transfer processes. The central question is whether and in what form the detailed information given on the pitch system can contribute to a better understanding of Ottoman music theory in the nineteenth century, and how it can be made useful for the critical edition of music practical sources from the period. | ||
| 520 | |a Traditional art music in the Ottoman Empire was essentially shaped by phenomena of transculturality. It can be assumed that dynamic cultural transfer processes took place between the cultural groups involved, including Armenians, Greeks, Jews, and Arabs, in addition to Turks, and that these processes are visible today through circumstantial evidence. | ||
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