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Mesaj: <blockquote data-quote="efrūḫte" data-source="post: 85464" data-attributes="member: 3556">No need to thank me at all, makam music has more of a learning curve than most music traditions, and I think helping people who are just starting off is the least we can do.Book suggestions are a little bit more difficult for me, I'm afraid. I am not a fan of most non-specialist scholarship on makam music; they tend to be surface-level, orientalist and create a myth of national-civilizational divide in music-making (Western-Eastern, Balkan-Turkish etc.), which did not exist to the extent claimed by most of 20th century and nationalist scholarship. I therefore suggest looking at older works (and commentaries of such works) instead, which are not interested in such myth-making and classify (probably a lot more accurately than current sources) most of the music of Southeastern Europe and the Middle East into a broad, transnational tradition. This is an understanding that is sorely missing in our current texts, which create exaggerated (and often imaginary) divides between the music of the Balkans, Anatolia and beyond. You might have recognized the rhytmic and melodic structure in the semai in Geveşt from the folk traditions of the Balkans (and you will likely have a similar reactions to many pieces in the repertoire) because it uses rhythmic and melodic concepts very common in most music of the Balkans and Anatolia; of which the art music in the Ottoman Empire is a synthesis of.Furthermore, as with every tradition, makam music changes over time, and from source to source. You expressed interest in the 16-17th century repertoire, which is best covered by two notation sources: Cantemir, who only notated the instrumental art music in Istanbul and to a lesser extent in Iaşi; and Ufkî, who recorded all types of music (art and folk) in Anatolia and the Balkans. So, in Ufkî's book there could be a Turkish folk song, followed by a Bulgarian dance air, followed by a peşrev/prelude written by an Armenian composer, while the Cantemir collection only includes art music, mostly of Turkish, but also a few Greek, Armenian and Sephardic Jewish composers (and of course, himself). The best English source that analyzes this repertoire is Volume 2 of Owen Wright's <a href="https://www.routledge.com/Demetrius-Cantemir-The-Collection-of-Notations-Volume-2-Commentary/Wright/p/book/9780754602811" target="_blank">"Demetrius Cantemir: The Collection of Notations"</a>, the preview of which you can access in this thread. Two things to keep in mind here, however. Firstly, the book is quite complex (and expensive), and there is definitely no rush for you to get it; my advice would be to take it slow, learn the pieces, and only then try to analyze them. Secondly, Owen Wright's book covers Ottoman music in the 16th and 17th centuries. If you want to learn about more recent theoretical concepts, which (as you might expect) are different, you need to ask for other sources. If you do have other sources in mind, you can ask for thoughts as well.Much easier than both of these, however, is to simply ask the community here! I'll be around for the foreseeable future, and if not me someone else will try their best to help; we are all at least somewhat knowledgeable in the tradition, so if you have questions about anything, you can ask the community here.</blockquote>

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