On the contrary, thanks very much for your very interesting explanations: I am learning a lot from them and that hypothesis to explain the 'explosion of pseudographia' would explain quite a few things.This Şamlı Selim book has quite a few pieces attributed to Gâzi Giray Han and when you see more of these pieces together it is quite obvious they are not homogeneous: some pieces do feel old and somewhat similar to the Kantemiroğlu pieces, from a time when makams and peşrevs were different, but many pieces indeed feel much more recent, with the modulations fitting much later schemes.Also if one looks at Gâzi Giray's wikipedia page it does raise questions about when he would have had the time to compose, in between all the politics and military campaigns. The image of the warrior-composer is certainly very seductive for all kinds of reasons, perhaps similar to the Chinese warrior-poets-calligraphers: forceful and refined at the same time, unlike those Western brutes ! (a seductive image because it is also partly true). But Gâzi Giray hardly spent time in Istanbul, so it would also raise the question about how all those pieces would have been transmitted and entered into the general repertoire.It is really interesting to think about what happened to all these pieces along the way, but overall, the sheer quantity and general reliability of oral transmission in Ottoman music does not cease to amaze.
On the contrary, thanks very much for your very interesting explanations: I am learning a lot from them and that hypothesis to explain the 'explosion of pseudographia' would explain quite a few things.
This Şamlı Selim book has quite a few pieces attributed to Gâzi Giray Han and when you see more of these pieces together it is quite obvious they are not homogeneous: some pieces do feel old and somewhat similar to the Kantemiroğlu pieces, from a time when makams and peşrevs were different, but many pieces indeed feel much more recent, with the modulations fitting much later schemes.
Also if one looks at Gâzi Giray's wikipedia page it does raise questions about when he would have had the time to compose, in between all the politics and military campaigns. The image of the warrior-composer is certainly very seductive for all kinds of reasons, perhaps similar to the Chinese warrior-poets-calligraphers: forceful and refined at the same time, unlike those Western brutes ! (a seductive image because it is also partly true). But Gâzi Giray hardly spent time in Istanbul, so it would also raise the question about how all those pieces would have been transmitted and entered into the general repertoire.
It is really interesting to think about what happened to all these pieces along the way, but overall, the sheer quantity and general reliability of oral transmission in Ottoman music does not cease to amaze.
