Wednesday, 29 April 2009

Stratis Myrivilis - Vasilis o Arvanitis



Book title: Βασίλης ο Αρβανίτης, Vasilis o Arvanitis
Turkish title: Midilli'den Arnavut Vasil
English title: Vasilis o Arvanitis
Author: Stratis Myrivilis (Mirivilis)
ISBN: 960-05-0133-5, Turkish: 975-571-136-8, English: 0-85834-502-1
Year pubished: 1943 (Turkish publication 1997)
Language: Greek - Turkish
Publisher: Estia (http://www.hestia.gr) Turkey Istanbul: Belge.
Translation in Turkey: Cem Kaskarlı,
Description: A story at Ottoman times in Lesvos (Midilli) of Vasilis o Arvanitis. Giving the life and times of this hot blooded, young Greek through the brave short life he lived.

STRATIS MYRIBILIS was born in 1890 in the Skamia of Lesbos. Immediately after completing his circulars studies (1909) will start publishing the first literary texts in local forms of the island. In 1912 entered the University of Athens, the Faculty of Philosophy and Law, without ever taking a degree, a result of participating in the successive wars conducted by Greece at the time. Returning in 1923, after ten years of war, in Mitilini he produces the newspaper “Kampana”, in which he publishes in 42 issues the anti military novel “Life in a grave”. The 1932 he settles permanently in Athens with his family. In 1956 he is elected member of the Academy of Athens. Died on 19 July 1969. O Myrivilis Stratis, one of the leading representatives of the Generation of 30’s, gave us some of the greatest works of modern Greek prose of the twentieth century.

Stratis Myrivilis (1892)- (..1969) Asıl adı efstratios stamatopoulos olan, myrivilis midilli adasının kuzey sahilinde bulunan skamniya kentinde doğdu 1892 tarihinde. Lise öğrenimini tamamladığı midilli kentine gelene kadar köyünde kaldı. Atina üniversitesindeki hukuk öğrenimi balkan savaşları nedeniyle yarım kaldı. 1915 Yılında ilk yapıtını, “kızıl hikayeler”i yayınladı. Daha sonra birinci dünya savaşı ve türk-yunan savaşı sırasındaki deneyimleri, onun baş yapıtlarından biri sayıları ve 1924 yılında yayınlanan “mezarda hayat” adlı romanının temelini oluşturdu. Bu romanda savaşın bütün dehşeti yansır. 1933 Yılında “altın gözlü okul müdiresi”, 1949 yılında ise denizkızı madonna´yı yayınlanan “arnavut vasil” dışında iki kısa romanı daha olan myrivilis´in birçok kısa öyküsü daha bulunmakta. Myrivilis, italyan ve alman işgali karşısında direnişçi bir tavır sergiledi. 1943 Yılında alman işgali sırasında yayınlanan “arnavut vasil”de büyük bir heyecanla karşılandı. Myrivilis 1969 yılında atina´da öldü.

Tuesday, 28 April 2009

Cengiz Onural - Bir Nefes Hayat


Title: Bir Nefes Hayat
Artist: Cengiz Onural
Year: 2007
Production: Kalan
Description: A collection of music for films

Tracks
1. Kirlangic (3:05)
2. Naz (2:32)
3. Bir Nefes Hayat (3:49)
4. Muhurlu Gozle (4:45)
5. Eve Donus (3:25)
6. Sandalim Bagli Ayazma'ya (3:30)
7. Mir'at (4:39)
8. Yaprak Dokumu (1:46)
9. Masalci Dede (3:02)
10. Efsane (2:59)
11. Dut Agaci (5:17)
12. Agit (3:27)
13. Benim Sirrim (3:48)
14. Kiyi Kahvesi (4:20)
15. Masumiyet (3:43)
16. Gece Yolculari (3:46)
17. Yaz Masali (2:50)

Samples

Monday, 27 April 2009

Interview with Cengiz Onural (İncesaz)



Here is an interview made with Cengiz Onural, from İncesaz. I want to thank Filiz very much for her English translation.

You were once a member of Yeni Türkü. Later, you have continued your musical career with İncesaz, which you formed together with Murat Aydemir and Derya Türkan. Can you tell us how you decided to form İncesaz and how the group has reached its present state?
Murat Aydemir and Derya Türkan wanted to work with me while recording their first Turkish Classical Music album “Ahenk”. That’s how we met. I realized that these two musicians had the noble traditional attitude towards music that I was longing to see and they discovered my intention to try new things, so we started strumming together. Then, over the years, some other very qualified musicians, who you are already familiar with, have joined us and the group has reached its final state.
How do you define the music of İncesaz?
First of all, I believe that a musician is incapable of defining his own music because he already expresses himself through his music. The rest is just empty talk. However, as I do not want to leave your question unanswered, I can explain “what we think about our own music”. The music of İncesaz is a blend of both traditional and universal modes, melodies, rhythms, tones accompanied with such instruments as klasik kemençe / politiki lyra (three-stringed fiddle), tanbur (Turkish long-necked lute) and kanun / kanonaki (zither). As we produce our music, we don’t restrict ourselves to the much debated matter of “east – west synthesis”. We use most aspects of the universal language of music, and say our word as freely as possible.
Your sixth album “Kalbimdeki Deniz” has recently been released. Can you tell us about your previous albums and your musical journey in time?
Since Incesaz have never been in the mainstream struggling with money and power, we have always sung songs that are uniquely ours. Although the group have been exposed to moral pressure after the first few albums, Incesaz, with its stringed instruments quartet, “baglama”s, tangos and symphony orchestra, presisted in making its own music. We have never troubled ourselves with whether a song would be popular or what our fans would think. In this sixth album we have also included some of our songs we have long ignored.

In “Kalbimdeki Deniz” the soloists are Dilek Türkan and Bora Ebeoğlu. In your previous albums, you worked with again Dilek Türkan as well as Melihat Gülses and Cengiz Özkan as soloists. Can you tell us how working with different singers contributes to your music?
I believe that every single individual is a universe within himself and that the musical language of Incesaz is completely universal. I also believe that any musician who has contributed to us through their voices and breaths has tremendously enriched our music. I would like to take this opportunity to, once again, thank all these people who I truly love and admire.
Incesaz has a wide range of fans. You don’t have any videos. We don’t see you on TV either. You keep in contact with your fans via concerts only. We can conclude that you intentionally prefer to take a back seat rather than be in the public eye. Why is that so?
As I have previously mentioned we, as a group, do not exist in the mainstream struggling with money and power. In order to take part in the mainstream, which can also be called as populism, you have to fulfill some requirements, make concessions and play the game by the rules. As we do not take part in this game, we have the freedom to say “You play your game!”. In my opinion, this freedom is much more valuable than the benefits that “dancing with wolves” would bring.
Can you also inform us about the forthcoming projects of İncesaz? Do you have any plans for a concert in Greece?
There are three bands in Greece that we have close relations with. Dromos, Romeiko Ensemble and Hainides, with whom we have been friends and have given concerts for many years. We have been working together with Grigoris Vassilias of Dromos, the bouzouki player, and Grigoris Bialis of Romeiko for such a long time that we have even become like brothers. We have been invited to perform in several Greek festivals this summer (2009) together with Dromos and we have immediately accepted. If we can realize this project, it is going to be an amazing experience. Apart from that, Derya Türkan, the “kemençe” virtuoso of İncesaz, in collaboration with the Greek “kemençe” virtuoso Sokratis Sinopoulos, give “kemençe” lessons in Crete every year to students from Greece and many other parts of the world. I also intend to attend those classes this year.
Apart from İncesaz, you have also been playing Rebetiko, İzmir music (Smyrneiko) and Zeybek music with Muammer Ketencoglu and Zeybek Toplulugu. What led you to this genre of music?
I love Greek culture and music so much that one could almost think I have Greek origins. This love is the main reason for all these musical activities. I not only perform this genre but I also go to Greece very often to visit prominent musicians, some of whom are close friends of mine, and I try to benefit from their knowledge as much as possible.
Can you share with us your thoughts regarding the blog, “Greek Turkish Friendship Through Music” and the group on facebook?
It is only love that unites us, nothing else. Neither interests, nor power….Nothing is more precious than this.



Cengiz Onural’ı Yeni Türkü grubundan tanıyoruz. Sonrasında Murat Aydemir ve Derya Türkan’la birlikte kurduğunuz İncesaz grubuyla müzik yaşamınızı devam ettirdiğinizi biliyoruz. Bize kısaca İncesaz’ın oluşum öyküsü ile bugünlere nasıl geldiğinizden bahsedebilir misiniz?
Murat Aydemir ile Derya Türkan Ahenk isimli ilk klasik Türk Müziği albümlerinin kayıtlarını benimle yapmak istemişler. Böylelikle tanışmış olduk. Ben onların, özlemini duyduğum soylu geleneksel tavra sahip olduklarını, onlar da benim yeni bir şeyler yapma niyetimi görünce birlikte tıngırdamaya başladık. Sonra yıllar içinde şimdi isimlerini bildiğiniz değerli müzisyenlerin de katılmasıyla bugünkü halimizi aldık. (www.incesaz.com)
İncesaz olarak yaptığınız müziği nasıl tanımlıyorsunuz?
Her şeyden önce şunu söylemeliyim ki, kanımca, bir kişi veya grup kendi müziğini tanımlamakta aciz kalır. Çünkü o sözünü müzikle zaten söylemektedir. Fazlası boş laftır. Ancak sorunuzu cevapsız bırakmak yerine “kendi müziğimiz hakkında düşündüklerimizi” şöyle ifade edebilirim: İncesaz bir yandan geleneksel müziğimizin makam, ezgi, ritm ve tınılarını, klasik kemençe, tanbur ve kanun sazlarının icra tavırlarını korurken, diğer yandan da evrensel armoni, ezgi, ritm ve tınıları müziğinde bir arada barındırıyor.
Müziğimizi üretirken yüzyıllardır tartışılan “doğu – batı sentezi” parantezine sıkışıp kalmıyoruz. Kendi müzikal ifademiz için doğru bulduğu evrensel müzik dilinin çoğu unsurunu kullanarak sözümüzü olabilecek en özgür biçimde söylemeyi seçiyoruz.
Geçtiğimiz günlerde 6. albümünüz olan “Kalbimdeki Deniz” yayınlandı. Geriye dönüp hazırladığınız albümlere baktığınızda nasıl bir müzikal yolculuk olmuş, biraz anlatabilir misiniz?
İncesaz para ve iktidarla cilveleşen ana arterde yer almadığı için daima ve yalnızca kendi türküsünü söyledi. Birkaç albüm sonra oluşmaya başlayan “muhipler” her ne kadar grubun üzerinde bir manevi baskı kurmayı başardılarsa da, İncesaz gâh bir yaylı çalgılar dörtlüsüyle, gâh bağlamalarla, gâh tangolarla, gâh senfoni orkestrasıyla birlikte tıngırdayarak sözünü söyledi. “Bizi sevenler ne der?”, “Tutar mı?” gibi teraneler hiç ayağımıza dolanmadı. Bu altıncı albümde de epeydir bir kenara attığımız kendi şarkılarımıza yer verdik.
“Kalbimdeki Deniz”de solistleriniz Dilek Türkan ve Bora Ebeoğlu. Daha önceki albümlerinizde solist olarak yine Dilek Türkan, Melihat Gülses ve Cengiz Özkan’la çalışmıştınız. Farklı isimlerle çalışmanızın müziğinize olan katkılarını anlatabilir misiniz?
Ben her insanın bir dünya, bir evren olduğuna, İncesaz’ın söylediği sözün evrensel olduğuna, bize sesi ve nefesiyle katılan her değerli solistin müziğimize paha biçilmez bir zenginlik kattığına inanırım. Çok inandığım, çok sevdiğim, hayranlık duyduğum bu kişilere bu bahaneyle bir kez daha teşekkür etmek isterim.
İncesaz toplumun pek çok farklı kesiminden oluşan geniş bir hayran kitlesine sahip. Hiç klip çalışmanız yok, TV programlarında görmüyoruz. Hayranlarınızla olan iletişiminizi sadece konserlerinizle sürdürüyorsunuz. Sizin çok göz önünde olmaktansa daha geri planda olmayı tercih eden bir grup olduğunuzu söyleyebiliriz. Neden?
Biraz önce belirttiğim gibi biz para ve iktidar ile cilveleşen ana arterde yer almıyoruz. Popülizm olarak da adlandırılabilecek bu ana çizgide kalmak için, bazı gereklilikleri yerine getirmeli, bazı tavizleri vermeli ve oyunu kurallarına göre oynamalısınız. Biz bu oyunda olmadığımıza göre, “Oyununuz sizin olsun!”, diyebilme özgürlüğüne sahibiz. Bana göre, bu özgürlük, “kurtlarla dansın” getireceği nimetlerden çok daha değerli.
İncesaz’ın gelecek projelerini de biraz öğrenebilir miyiz? Programda Yunanistan’da konser bulunuyor mu acaba?
Yunanistan’da çok yakından gönül bağımız olan üç grup var. Yıllardır dost olduğumuz, birlikte konserler verdiğimiz Dromos, Romeiko Ensemble ve Hainides. Dromos’un lideri buzuki sanatçısı Grigoris Vassilas ve Romeiko’nun lideri Giorgios Bilalis ile uzun zamandır tanışıyor ve çalışıyoruz. Öyle ki her ikisiyle de kardeş kadar yakın dost olduk. Bu yaz (2009 yazı) Dromos ile birlikte çeşitli Yunanistan festivallerine katılma teklifi aldık ve gözü kapalı kabul ettik. Eğer gerçekleşirse, bizim için muhteşem bir deneyim olacak.
Ayrıca İncesaz’ın kemençe üstadı Derya Türkan, her sene Girit adasında Yunanistan ve dünyanın çeşitli yerlerinden gelen öğrencilere yunanlı kemençe sanatçısı Sokratis Sinopulos ile birlikte kemençe dersi veriyor. Bu sene ben de bu derslere katılmaya niyetliyim.
İncesaz haricinde Muammer Ketencoğlu ve Zeybek Topluluğunda Rebetiko, İzmir ve Zeybek müziği üzerine çalışmalarınızı sürdürüyorsunuz. Sizi bu tür müziğe yönelten neydi?
Neredeyse bir yanım Yunan dedirtecek kadar Yunan kültürünü ve müziğini severim. Bütün bu çalışmalar bu sevgiden kaynaklanıyor. Bu müziği yapmakla kalmam, sık sık Yunanistan’a seyahat eder, bazıları yakın dostum olan değerli müzisyenleri dinlemeye ve feyz almaya bakarım.
Facebook’taki Greek Turkish friendship with Music Grubu ve bloğumuz ile ilgili görüşlerinizi bizimle paylaşır mısınız?
Bizi sevgiden başka bir araya getiren bir şey yok. Ne çıkar, ne iktidar... Öyleyse bundan değerlisi yok.

Saturday, 25 April 2009

Greek and Turkish proverbs

Music and dance oriented proverbs
Νηστικό αρκούδι δε χορεύει
Aç ayı oynamaz
(Common)

Όποıος μπαίνει στο χορό, χορεύει
Halaya giren kolunu sallar

Kizi kendi haline brakirsan, ya davulcuya varir yada zurnaciya
If you let your daughter decide by herself, she will marry either a davul or a zurna player
(Turkish)

Davulsuz dugun, kopeksiz köy
Wedding without a "davul", village without dogs
Γάμος δίχως νταούλια, χωριό δίχως σκυλιά
(Turkish)

Zurnanin son deligi(yim)
(I am) the last hole of the zurna
Είμαι η τελευταία τρύπα του ζουρνά
(Common)

Davulun sesi uzaktan hoş gelir
From a distance the sound of the davul is sweet
Του νταουλιού η φωνή από μακριά γλυκά ακούγεται
(Turkish)

Elsewhere the bride is getting married, elsewhere the "davul"s are beating..
Αλλού παντρεύεται η νύφη, αλλού βαρούν τα νταούλια
Greek (Lesvos Island)

Η Τουρκάλα στο τραγούδι, η Ρωμιά στο ψαλμό
The Turkish woman on the song, the Rum Woman on the psalms

Common in Thrace, esp. among the smokers
Cigarasiz kahve, gaydasiz bulgar dugunune benzer.
A cup of coffee without a cigarette is like a Bulgarian wedding without a "gayda"

Oynayamayan gelin yerim dar dermiş.
A bride who cannot dance says she doesn't have enough space.
(Turkish)

Anlayana sivrisinek saz, anlamayana davul zurna az.
To the wise, a mosquito's buzz is as obvious/clear as the sound of "saz"; to the dumb, even the drum and horn are not enough.
(Turkish)

Common and other
Δύο καρπούζια κάτω από μία αμασκάλη δε χωράνε
İki karpuz bir koltuğa sığmaz

Δείξε μου το φίλο σου να σου πω ποιος είσαι
Bana arkadaşını göster sana kim olduğunu söyleyeyim

Έχε τα πόδια σου ζεστά την κεφαλή σου κρύα
Ayağını sıcak tut başını serin

Με στραβό σαν κοιμηθείς το πρωί γκαβίζεις
Körle yatan şaşı kalkar

Ο τρελός είδε το μεθυσμένο και φοβήθηκε
Deli sarhoşu görünce çomağını saklar

Όποιος ανοίγει τον λάκκο του άλλου πέφτει ο ίδιος μέσα.
Başkasının kuyusunu kazan içine kendi düşer.

Όπου υπάρχει καπνός υπάρχει και φωτιά
Ateş olmayan yerden duman çıkmaz

Oτι σπείρεις θα θερίσεις
Ne ekersen, onu biçersin

Σκυλί που γαβγίζει μην το φοβάσαι
Havlayan köpek ısırmaz

Χωριό που φαίνεται κολαούζο δε θέλει
Görünen köy kılavuz istemez

Edited by Filiz and Panos

Anadolu'nun Kayıp Şarkıları / Lost Songs of Anatolia
























Original Title:
Anadolu’nun Kayip Sarkilari
English Title: Lost Songs of Anatolia
Origin: Turkey
Year: 2008
Production Company: Nezih Ünen Productions
Language: Turkish and various languages as lyrics (English subtitles)
Description: A musical voyage among exotic places and people of Anatolia, unique host of ancient civilizations, empires as well as mythologies and glory of 10 millennia.
The fruit of 350 hours of footage, more than 40,000 km traveled and 133 recorded live performances, Lost Songs of Anatolia may be the first example of its kind as a documentary-musical film. The cultural riches of Anatolia are sung in authentic performances recorded live on location spontaneously. With the modern arrangements made, an incomparable musical is formed.
While this journey is showing how music and culture is derived from life, geography and work, an exploration of Anatolia’s versatile cultures takes place on a basis of music, dance and rituals. The staggering environment surrounding these people and influencing their lifestyles contribute the lyric flow of the film.
The making of this film took more than 5 years, during which Anatolia was explored thoroughly twice, and afterwards, several additional shootings were made at spot locations. A total of 133 performances were recorded on 121 locations and 43 of them were selected to take place in the film.

Cultures taking place in the film
    • Circassian Dances from Duzce
    • Alevi rituel semah and folk songs from Tokat
    • Horon Dance from Trabzon
    • Hemsin Songs and improvisations from Rize
    • Polyphonic Georgian Songs from Artvin
    • Minstrel Quarrel and The Shepherd’s Love Song from Kars
    • Eagle Dance from Bingol
    • Bektasi Song from Tunceli
    • Dengbej Song in Mus
    • Cotton field workers’ Work Song from Diyarbakir
    • Syriac rituals in Mardin
    • Folk songs from Midyat and scenes from Harran
    • Gazel from Urfa
    • Barak Song from Gaziantep
    • Silk producer’s Work Song in Hatay
    • Folk songs and Kirtil Semah Ritual from Silifle
    • Bozlak Song from Kirikkale
    • Zeybek Dance and a Karacaoglan Song from Denizli
    • Nomad’s music played with kemane and sipsi from Burdur. Also Lover and the Beloved Dance.
    • Gypsy’s Drum and Clarion from Mugla
    • Sword and Shield Game from Bursa
    • Armenian and Greek Songs
    • Whirling Dervishes

video

Dr Umit Mutlu - Santur


Title: Santur
Artist: Dr Umit Mutlu
Year: 2003
Production: Kaf
Description: A collection of zeybek and other tunes of the early past century
Musicians: Derya Turkan, kemence, Fahrettin Yarkin, bendir


Tracks:

1. Bergama Zeybegi (Anonymous)
2. Huseyni Zeybek (Anonymous)
3. Bandirma Zeybegi (Anonymous)
4. Mahur Zeybek (Anonymous)
5. Hicazkar Sirto (Sultan Abdulaziz)
6. Tavas Zeybegi (Anonymous)
7. Cargah Sirto (Anonymous)
8. Rast Sirto (Anonymous)
9. Sultaniyegah Sirto (Refik Fersan)
10. Nihavend Santur Taksimi (Umit Mutlu)
11. Nihavend Zeybek (Anonymous)
12. Nikriz Longa (Tanburi Cemil Bey)
13. Izmir Zeybegi (Anonymous)
14. Hicaz Sirto (Tanburi Kadi Fuad Efendi)
15. Hicaz Mandra (Anonymous)
16. Hicaz Sazeseri (Dr.Umit Mutlu)
17. Yunan Oyun Havasi (Anonymous)

Sample tracks

Friday, 24 April 2009

Turkish Proverbs - Thomas Korovinis



Book title: Turkish Proverbes - Τούρκικες Παροιμίες
Author: Thomas Korovinis
Year: 1988
ISBN:
Language: Turkish
Publisher: Agra
Examples:
Νηστικό αρκούδι δε χορεύει
Aç ayı oynamaz
Δύο καρπούζια κάτω από μία αμασκάλη δε χωράνε
İki karpuz bir koltuğa sığmaz
Χωριό που φαίνεται κολαούζο δε θέλει
Görünen köy kılavuz istemez
Αγάπη που πεισμάτωσε και αραμπά τουμπάρει.
Άκουσε σάβανο και πέθανε αποβραδίς.
Άλλο λογαριασμό ο γάιδαρος και άλλο ο αγωγιάτης.
Άλλος με τις παράδες του και άλλος με τις προσευχές του.
Άμα χτυπήσεις μόνος, δεν πονάς.
Γουρόυνια που τα βόσκω εγώ, τα χούγια τους εσύ θα μου μάθεις;
Η γυναίκα ένα μυαλό, ο άνδρας δώδεκα!
Να αφήσω τα σκατά να πάω στα απόσκατα
Σκυλί που δαγκώνει, δε δείχνει τα δόντια του
Στη τέχνη δώσε πίστη και ο παράς θα σε κυνηγάει
Στη τύχη μη πιστεύεις, αλλά και δίχως τύχη μη μένεις
Στο κόκκινο το μήλο πολλοί πέτρες πετάνε
Στον μπακάλη δεν πουλάνε μπακαλική.
Στο ψώφιο λιοντάρι οι λαγοί κάνουν γιούργια
Σώθηκε ο τράγος απ'το λύκο, στα κέρατά του το χρωστάει.
Τα τσαλίμια δεν κάνουν παράδες.
Τα τσιγγανάκια πληθαίνουν, ο αρχιτσιγγάνος κατουργιέται απ'τη χαρά του!
Της καμήλας το το μπόι έφτασες, αλλά αυτιά σαν της καμήλας δεν έκανες!
Της νοικοκυράς ο άντρας, από τα βρακιά του φαίνεται
Το αχμάκικο σκυλί, απ'το μπακλαβά μερίδα περιμένει.
Το γαϊδούρι, και χρυσό σαμάρι να του βάλει, πάλι γαϊδούρι θα είναι.
Φτηνό είναι θα έχει κουσούρι, ακριβό είναι, θα χτυπάει στο μάτι!

Sunday, 19 April 2009

Music Therapy - Turkish music and movement therapy tradition


















Album
: Rehavi Makamı
Year: 2001
Company: TUMATA (Türk Musikisini Araştırma ve Tanıtma Grubu / The Group for the Research and Promotion of Turkish Music)

According to the view of experts who have done research on music; music existed before language. Abstract concepts, memory, symbols, associations, analogical relations necessary for conversation and speech have evolved and matured with humanity. Together with this, there is in every particle in nature, a unity of melody and rhythm which continues with great order and harmony. In the harmony and rhythm perfection of bird sounds, in the movement of atoms, electrons and galaxies and in the amplified sounds of the fluids of our body, we can observe the relation and association of music with the created world at large.

Music and music therapy history understanding of the present world, directs us to colloborate with sciences like anthropology, history, ethnotherapy, ethnomedicine, psychology, pedagogy, sociology, spirituality and parapsychology.

Curing with makam (Turkish tonality) music and treatment with these elements, which matured and established itself along with the Bakshi-Kam curing tradition and pentatonic music form which has an important place in Turkish culture and history of music and dance, has again revitalized itself in today’s medical arena. One thousand years ago in Central Asia, Farabi, Ibn-i Sina, Ebu Bekir Razi, Hasan Suuri, Hekimbasi Gevrekzade Hafiz Hasan Efendi and Hasim Bey have written works on makam music, which was developing and spreading in Horasan (Transoxiana) and Uigur Regions, and they described the relations of makams with feelings and organs of the body by classifications. While pentatonic music was continuing to develop in Turkic provinces, a different makam music based on a system of 7 notes, where one whole note was divided into 9 different sounds (komas), has contributed to our culture and art with a wealth of over 400 makams.

Ebu Bekir Razi, one of the great Muslim Turkish scholars, who lived between 834-932, in his work on the curing of melancholic patients tells us the following: “... melancholic patient must be cured through some sort of pre-occupation... melancholic patient should pursue a joyful hobby like hunting or fishing. He should get to know different kind of games. He should meet people whose character, behavior and morals he likes; and should listen to songs which are sung by beautiful voices.”

Great Turkish scholar Farabi (870-950) classifies the effects of the tonalities to the soul as follows:

  • Rast tonality: Induces joy and feelings of peace
  • Rehavi tonality: Induces feelings of infinitude
  • Kuchek tonality: Eliminates feelings of sorrow and grief
  • Buzurk tonality: Eliminates fear
  • Isfahan tonality: Induces feelings of self confidence and aids the ability to move
  • Neva tonality: Gives a person taste and relief
  • Ussak tonality: Induces laughter
  • Zirgule tonality: Induces sleep
  • Saba tonality: Gives a person courage and power
  • Buselik tonality: Gives strength
  • Huseyni tonality: Induces feelings of peace (calmness and comfort)
  • Hicaz tonality: Induces humbleness

Great Muslim Turkish philosopher and scholar Ibn-i Sina (Avicenna, 980-1037) defines the role music plays in medicine as follows: “... One of the most effective and best paths of curing is to increase the mental and spiritual strengths of the patient. To cope better with the illness, the patient should be encouraged, should listen to good music and should come together with people whom he loves.”

Ibn-i Sina states that, he had benefited greatly from the works of Farabi, and adds that he had learned music from him and applied it in his medicinal occupation. In his book ’Kitap’un Necat’ and ’Kitab’un Sife’ which he wrote in Arabic, 12. chapters are totally reserved for music. These chapters were translated by Baron Rodolph Dearlangar, and were named and published as ’La Musique Arap’.

In the works named ’Tadil-i Emzice’ of the ancient Turkish Doctor Shuuri, there is encompassing information about curing with music. Shuuri in his work ’Tadil-I Emzice’ states that at the different times of the day, different tonalities are effective.

According to him:

  • Rast and Rehavi tonality: Effective at dawn
  • Huseyni tonality: Effective in the morning
  • Irak tonality: Effective around mid-morning
  • Nihavend tonality: Effective around noon
  • Hicaz tonality: Effective between two prayer times
  • Buselik tonality: Effective in the afternoon
  • Ussak tonality: Effective at dusk
  • Zengule tonality: Effective after sunset
  • Muhalif tonalities: Effective after the last prayer in the evening
  • Rast tonality: Effective at midnight
  • Zirefkend tonality: Effective after midnight

According to Shuuri, different tonalities affect the different gatherings of people:

  • Gathering of religious scholars (Ulema meclisi): Rast and Tevabii tonalities
  • Assembly of Kings: Isfahan and Tevabii tonalities
  • Gathering of Dervishes: Hicaz and Tevabii tonalities
  • Gathering of Sufis: Rehavi and Tevabii tonalities

Nine centuries before our time in the Nureddin Hospital in Damascus, which was built by Seljukian Sultan Nureddin Zengi, musical tonalities were used to cure patients.

In later times, curing with music was implemented in Amasya, Sivas, Kayseri, Manisa, Bursa, Istanbul (Fatih Kulliyesi) and Edirne hospitals. We find the following written in Evliya Chelebi’s travel chronicles: ”The late Bajezid, the benefactor; may God forgive his sins; to cure the ill, to relieve the aggrieved, to get rid of the passion of love and as a nutrition to the souls of the crazy, had arranged 10 professional singers and 10 musicians, of which 3 were only singers, 1 was a Neyzen, 1 was a violin player, 1 was a musikar (Pan flute) player, 1 was a Santur player, and 1 was an Ud player. They came 3 times a week to apply a session of music to the patients and the mad.”

According to these sources, during the execution of these passive-receptive music therapy sessions, which developed with the ripened tonalities of Turkish Art Music - which has its origin in Horasan (Transoxiana) - and Horasan Anatolian music, the patients would listen either by sitting comfortably or lying down in a resting position. In this form of curing, the aim was to relieve the patient by changing their emotional states and help them rekindle their self confidence.

Source:


www.tumata.com


Short examples from TUMATA CDs:


www.tumata.com/99ing_icerik.aspx?pageName=eng_makamlar.html


Rehavi Makamı


http://www.4shared.com/file/100280169/90622b8c/Rehavi_Makami.html

Wednesday, 15 April 2009

YEGANE MİRAS - Η ΜΟΝΗ ΚΛΗΡΟΝΟΜΙΑ




Book title:
Η ΜΟΝΗ ΚΛΗΡΟΝΟΜΙΑ
Turkish title: Yegane Miras
Author: Yorgos Yoannu
ISBN: 975-05-0070-9
Language: Turkish
Publisher: In Turkey İletişim Yayınları, 2002, translation Müfide Pekin
Description: Yunan edebiyatının en büyük düzyazı ustalarından ve önemli şairlerinden, annesi ve babası Tekirdağ-Keşan doğumlu Yorgos Yoannu, çocukluk ve yeniyetmelik dönemlerinin anılarını bir araya getirdiği Yegâne Miras’ta okura, 1923 Mübadelesi’nden sonra ailesinin yerleştiği Selânik’ten, daha sonra görevli gittiği Atina ve Bingazi’den son derece canlı insan portreleri ve günlük yaşam manzaraları sunuyor. Yeniyetme bir delikanlı olarak yaşadığı İkinci Dünya Savaşı sırasında, bombalar altında yıkılan Selânik’te yazarın kendi aile çevresinde gelişen traji-komik olaylarla örülen bu öykülerin ayrıntılarında Yunanistan’ın gizli çağdaş tarihini bulmak mümkün. Yeni gelişmekte olan bir toplumsal yapının kuruluş sancıları içinde yaşama tutunmaya çalışan küçük insanın sıkıntıları, artık kaybolmaya yüz tutan alışkanlıklar, yok olan tatlar, Yegâne Miras’ın ana temalarını oluşturuyor. Kitapta yer alan “Kemal’in Evi” adlı öykü, Yunanistan’da orta öğretim edebiyat ders kitaplarında düzyazı örneği olarak okutulmakta.

Yorgos Yoannu, whose parents were from Tekirdağ-Keşan area, was one of the greatest writers and poets in Greek literature. In his book, he talks about his memories from his childhood and teenage years. He writes about Selanik where his parents moved after the Exchange of Population which took place in 1923, Athens and Bingazi where he went on duty and gives vivid human portraits and scenes from daily life. He talks about the Second World War which he went through as a young man and describes Selanik collapsing under the bomb attacks, and tragicomic stories which surround his family. Within the details of the stories, the reader can find traces of Greece’s hidden history. The difficulties of people who try to hold on to life, living in an era where a new social structure is being formed, habits which are fading away, customs which are disappearing, form the main themes of the book. The story “Kemal’s House” in the book is being taught as an example of literary text in Greek secondary school literature classes.


“Kemal’in Evinde” öyküsünden alıntı: “…Herkes eski güzelliğinden, eski şaşaasından bahsediyordu evin. Ben bütün bu yüksek sesli konuşmaların arasında bir ihtiyar kadının alçak sesle söylediği şu sözleri çok iyi hatırlıyorum: ‘Bu ev bir beyzadeye aitti, beyzadenin serin sular misali bir de kızı vardı. Merdivenlerden bir aşağı, bir yukarı yürümez, adeta akardı. Evi terk ederlerken eğildi, basamağı öptü. Bu gözlerim böylesine derin bir yürek acısını bir daha görmedi.’”
From the book: “….Everybody was talking about the former beauty and extravagance of the house. Among all the talks, I remember with great clarity the words of an old woman told in a low whisper: “This house used to belong to a young noble and he had an extremely graceful daughter. While climbing up and coming down the staircase, she almost didn’t walk but flowed like water. When they left the house, she kissed the step. My eyes have never seen such a deep heart ache.”

Sunday, 12 April 2009

Bosporus - Fanari tis Anatolis - Balkanika oneira



Artist:
Bosporus
Album: Fanari tis Anatolis - Balkanika oneira
Year: 1996
Company: Music box
Musicians: Vasiliki Papageorgiou - Μelda Kurt
Description: A collaboration of the Greek of Constandinople Vasiliki with Turkish musician and with songs that are from both countries

Tracks:
1. Βασιλική Παπαγεωργίου - Μοναχογιός Ο Κωνσταντής
2. Μelda Kurt - Ezim Ezim Eziliyor Yuregim
3. Βασιλική Παπαγεωργίου - Ανάθεμα Τον Αίτιο
4. Μelda Kurt - Ela Gozlu Pirim Geldi
5. Βασιλική Παπαγεωργίου - Δακρύζω Με Παράπονο
6. Βασιλική Παπαγεωργίου - Μισεύω Εξαιτίας Σου
7. Μelda Kurt - Zeybek
8. Βόσπορος - Anadolu
9. Βασιλική Παπαγεωργίου - Τα Ματόκλαδά Σου Λάμπουν
10. Μelda Kurt - Dun Gece Yar Hanesinde
11. Βασιλική Παπαγεωργίου - Σαν Πάς Στα Ξένα
12. Βόσπορος - Goz
13. Βασιλική Παπαγεωργίου - Πετραδάκι, Πετραδάκι
14. Μelda Kurt - Bad-I Saba - Madem Ki Ben Bir Insanim
15. Βασιλική Παπαγεωργίου - Anne (Mάνα)
Sample tracks 2-13

Evliya Celebi - Peregrination to Greece (1668-1671)


Book Title: Peregrination to Greece (1668-1671) - Οδοιπορικό στην Ελλάδα (1668-1671)
Author: Evliya Celebi
ISBN: 960-7437-07-1
Language: Greek
Year: 1994 This edition 2005, fifth edition
Publisher: Ekati http://www.ekatibooks.gr
Translator: Dimitris Loupis
Description: This book is part of the descriptions of the traveller Evliya Celebi, in the Ottoman periode in Greece.
Notes: The text of this book is based upon the book "Evliya Celebi Seyahatnnamesi, Mehmet Zillioglu, Istanbul Üçdal Nerşriyatö 1985)

Thursday, 9 April 2009

Rum (Greek) Composers of Constantinople - Bosporos


Artist: Bosporos
Album: Ρωμιοί Συνθέτες της Πόλης
Year: 1987
Company: Minos EMI
Music production: Ihsan Ozgen
Production: Nikoforos Metaxas

Tracks
1.Taxim ney Maqam Rast
2. Rast Beste Zacharias Handedes
3.Sazkiar Pesrev - Dimtri Kandemir
4. Pencugkiah Saz Semasi - Dimtri Kandemir
5. Taxim Kanun - Husun Anil - Pencugkiah
6. Mahur Saz Semaisi - Nikolaki
7. Nikriz Zeybek - Tanburi Cemil Bey
8. Taxim Huseyni
9. Huseyni Agir Semai - Zacharias Handedes
10. Taxim ney
11 Huseyni Saz Semaisi - Antonis Kyriazis
12 Taxim Tambur Huseyni
13 Kurdilihicaskiar Pesrev - Vasilakis
14. Taxim Kurdilihicaskiar
Sample tracks: 11,13

From magazine HITECH

Η εν λόγω έκδοση επιχειρεί μια γνωριμία με τους Ρωμιούς συνθέτες, που έδρασαν στο χώρο της οθωμανικής κλασικής μουσικής. Μια μουσική με βαθιές ρίζες στη μακραίωνη παράδοση της ανατολικής Μεσογείου, που είναι κι η άμεση κληρονόμος της βυζαντινής και της αραβοπέρσικης μουσικής παράδοσης. Οι φορείς της προέρχονταν απ' όλους τους λαούς που έζησαν στο πολυεθνικό ψηφιδωτό της Κωνσταντινούπολης: Ρωμιοί, Τούρκοι, Αρμένιοι, Εβραίοι... Στην έκδοση αυτή, ξεναγός μας στο έργο των Ρωμιών συνθετών της Πόλης είναι το συγκρότημα "Βόσπορος", που αποτελείται από διακεκριμένους Τούρκους δεξιοτέχνες. Οι Ρωμιοί συνθέτες που ανθολογούνται έδρασαν από το 18ο αιώνα, περίοδος μεγάλης ακμής της οθωμανικής κλασικής μουσικής, έως τις αρχές του αιώνα μας. Ανάμεσά τους ο πρίγκιπας Δημήτριος Καντεμίρης, βοεβόδας της Μολδαβίας, που ήταν ένας από τους πιο μορφωμένους λογίους της εποχής του. Πολλοί απ' αυτούς είχαν σπουδάσει και τη βυζαντινή μουσική, όπως ο Ζαχαρίας ο χανεντές. Ήταν μαθητής του Δανιήλ Πρωτοψάλτη στη βυζαντινή μουσική και μελοποίησε και εκκλησιαστικούς ύμνους, ιδιαίτερα καλοφωνικούς ειρμούς. Παράλληλα έπαιζε ταμπούρ κι ήταν και χανεντές (τραγουδιστής) στο παλάτι του Σουλτάνου... Στην έκδοση αυτή μπορούμε να πάρουμε μια γεύση από τις πολύ εκφραστικές μελωδικές γραμμές που συνέθεσαν οι Ρωμιοί συνθέτες, οι οποίες στηρίζονται στα "μακάμια" (μουσική "δρόμοι") και τα "ουσούλια" (ρυθμικά σχήματα) της ανατολικής μουσικής. Ακούγονται τα όργανα της κλασικής ορχήστρας: πολίτικη λύρα, νέι (μακριά φλογέρα), ταμπούρ, κανονάκι και βιολοντσέλο. Η πολίτικη λύρα είναι γνωστή και με το όνομα "κεμεντζέ ρουμί" (κεμεντζές των Ελλήνων), γεγονός που φανερώνει την ελληνική προέλευσή της. Περιλαμβάνονται οχτώ οργανικές συνθέσεις που στηρίζονται στις φόρμες της λόγιας μουσικής της Κωνσταντινούπολης κι έξι ταξίμια, όπου κάθε όργανο της ορχήστρας φανερώνει τις εκφραστικές του δυνατότητες. Οι οργανικές φόρμες "Πεσρέφ" και "Σαζ σεμαϊσί" έχουν τις ρίζες τους στην αυλική μουσική των Περσών, ενώ το "Μεστέ" είναι αργή και μελισματική φωνητική σύνθεση, όπου ανάμεσα στους στίχους τραγουδιούνται οι συλλαβές "τερεννούμ". Είναι κάτι αντίστοιχο με την καλοφωνία της βυζαντινής μουσικής. Απ' αυτό το παράδειγμα μπορούμε να δούμε τις ανταλλαγές και τις αλληλεπιδράσεις ανάμεσα στις δυο μουσικές, τη στιγμή που -πολλές φορές- τα ίδια άτομα διακρίνονταν και στις δυο... Ο δίσκος αυτός είναι ο πρώτος αφιερωμένος στο έργο των Ρωμιών συνθετών της Πόλης που κυκλοφόρησε στην Ελλάδα. Επιχειρεί να φωτίσει μια άγνωστη (στο πλατύ κοινό) πλευρά της ελληνικής μουσικής, πολύ πριν οι εθνικισμοί καταστρέψουν τη μακραίωνη συμβίωση των λαών... Οι δεξιοτέχνες του "Βοσπόρου", κληρονόμοι και συνεχιστές της μακραίωνης αυτής παράδοσης, μας ξεναγούν στο κλίμα που επικρατούσε στη λόγια μουσική της Πόλης έως τις αρχές του αιώνα. Προσεγμένη είναι επίσης κι η επιλογή του ηχητικού υλικού. Τα μακάμια που ακούγονται είναι "συγγενικά" μεταξύ τους, ενώ το τελευταίο ταξίμι καταλήγει στο μακάμ "ράστ", όπου κινούνταν τα πρώτα κομμάτια. Στο ένθετο φυλλάδιο περιέχονται σύντομα βιογραφικά στοιχεία των ανθολογούμενων συνθετών, πληροφορίες για τα μουσικά όργανα, καθώς και κατατοπιστικά σχόλια για τα κομμάτια της έκδοσης από το Γιάννη Ζάννο. Την επιλογή των κομματιών έχουν κάνει ο Νικηφόρος Μεταξάς και η Ανιές Αγκοπιάν.

Χάρης Σαρρής
HITECH

Wednesday, 8 April 2009

The Rough Guide to Turkey


Book Title: The Rough Guide to Turkey
Authors: Rosie Ayliffe, Marc Dubin, John Gawthrop and Terry Richardson
ISBN: 1-84353-071-6
Language: English
Year: This edition 2003, fifth edition
Publisher: Rough Guides http://www.roughguides.com
Description: One of the best all around book guides for Turkey, reliable, readable, practical.
With a very good section guide also on music

Monday, 6 April 2009

Ercan Irmak - Davet / Invitation with nay


Artist: Ercan Irmak
Album: Davet
Year: 2006
Company: Trio Lila
Contributing musicians: Ney, Percussion -Ercan Irmak, Piano -İlyas Mirzayev, Guitar -Erkan Oğur
Description: In "Davet", the masterpieces of the genius composers of Turkish Classical Music, like Hamamizade İsmail Dede Efendi, Tanburi Büyük Osman Bey, Mesut Cemil, Sadi Işılay are interpreted, along with some unique examples of Turkish Folk Music.

Tracks:
1. Muhayyer Kürdi Saz Semaisi / Beste: Sadi Işılay (download)
2. Yemen Türküsü / Anonim
3. Batum / Anonim
4. Gülnihal / İsmail Dede Efendi
5. İltifat- Ey Büt-i Nev Eda / İsmail Dede Efendi
6. Karadeniz - Kanatları Gümüş / Mesut Cemil
7. Kayıkçı / Anonim
8. Saba Peşrevi / Tamburi Büyük Osman Bey
9. Davet / Ercan Irmak
10. Giz (Uşşak Taksim) / Ercan Irmak

"Dithen" - Greek traditional music

video
Palios Ikariotikos (Old Ikariotikos island dance)

video
Bam Zeybekikos (traditional of Asia Minor)

video
Aman Gel Aman (Tis triandafilias ta fila - Karsilamas) (traditional of Asia Minor)

video
Gialo-Gialo/Ti se melei esena (Sirtos) (traditional of Asia Minor)

video
Ehe geia -Hasapiko (traditional hasap havasi of Constandinople)