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...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Brill
2023
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| Dans: |
Oriens
Année: 2023, Volume: 51, Numéro: 1/2, Pages: 177-196 |
| Sujets non-standardisés: | B
Critical Edition
B Cultural Translation B Greek music theory B Ottoman art music B pitch system |
| Accès en ligne: |
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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