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Ottoman and European Music in Alî Ufukî's Compendium (c. 1640): analysis, interpretation, (trans-) cultural context

Alí® Ufukí® 的纲要（c. 1640）中的奥斯曼音乐和欧洲音乐：分析、解释、（跨）文化背景

基本信息

批准号：
214593380
负责人：
Dr. Judith Irmela Haug
金额：
--
依托单位：
Fach Musikwissenschaft (aufgelöst)
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2012
资助国家：
德国
起止时间：
2011-12-31 至 2015-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/214593380?language=en
关键词：
Ottoman European Music Al Ufuk

项目摘要

The manuscript F-Pbn Turc 292, a subsequently bound loose-leaf collection from the legacy of the Polish-born renegade, Ottoman court musician and court interpreter Ali Ufuki (Albert Bobowski, c. 1610 - c. 1675) is an exceptional, complex source of high value to various scholarly disciplines. On 626 pages, it contains the earliest known notations of Ottoman music of diverse genres in a modified Western staff notation. Thus it is one of the very few extant records in writing of otherwise almost exclusively orally transmitted Ottoman art and folk music prior to the 19th century. Further, it contains European compositions (mainly spiritual songs), tablatures and texts in a large amount of languages, among them comments on music theory, music teaching and performance practice as well as lyrical texts meant for vocal performance by various, also famous authors, medical, alchimistic and culinary recipes, grammatical and linguistic notes, documents and personal remarks. Ali Ufuki's compendium, as a kind of snapshot in time of mid-17th century musical life in Istanbul and in the Sultan's palace, is a source of inestimable value and a singular witness for transcultural processes and knowledge transfer between Europe and the Ottoman Empire. From a musicological viewpoint, this unique source requires a detailed analysis by way of a critical edition of its music-related contents as well as interpretation and contextualisation of the Ottoman and European repertoires. Crucial questions here relate to transculturality, fixation of orally transmitted music in a sign system originating from a different musical culture, the author's inclusion in international networks of knowledge and his location in Ottoman and European music history concerning repertoire, contexts of transmission, theory and performance practice.As the first funding period was mainly dedicated to making accessible, critically editing and analyzing the musical and music-related contents, besides extensive search for sources and secondary literature, contextualisation of repertoire and theoretical background will be in the focus during the second period. The lines of tradition of which the Compendium forms part extend to the present time and to modern performance practice of Ottoman music.

手稿F-Pbn Turc 292，一个随后装订的活页收集从波兰出生的叛徒，奥斯曼宫廷音乐家和法院翻译阿里Ufuki的遗产（阿尔伯特Bobowski，c. 1610 - c。1675年）是一个特殊的，复杂的高价值来源，以各种学术学科。在626页，它包含了最早的奥斯曼音乐的不同流派的修改西方五线谱记谱法。因此，它是极少数现存的记录之一，否则几乎完全口头传播的奥斯曼艺术和民间音乐在世纪之前。此外，它还包含欧洲作品（主要是精神歌曲），表格和大量语言的文本，其中包括对音乐理论，音乐教学和表演实践的评论，以及各种着名作家的声乐表演，医学，炼金术和烹饪食谱，语法和语言注释，文件和个人评论。阿里·乌富基的作品集是世纪中期伊斯坦布尔和苏丹宫殿音乐生活的一种快照，具有不可估量的价值，是欧洲和奥斯曼帝国之间跨文化进程和知识转移的独特见证。从音乐学的角度来看，这一独特的来源需要通过对其音乐相关内容的批判性版本以及奥斯曼和欧洲曲目的解释和背景化进行详细分析。这里的关键问题涉及到跨文化性、将口头传播的音乐固定在一个源自不同音乐文化的符号系统中、作者被纳入国际知识网络以及他在奥斯曼和欧洲音乐史上的位置，包括曲目、传播背景、理论和表演实践。在第二阶段，除了广泛寻找资料来源和二手文献外，还将对音乐和音乐相关内容进行批判性编辑和分析，并将重点放在曲目和理论背景的语境化上。《纲要》所体现的传统一直延续到现在，并一直延续到奥斯曼音乐的现代表演实践。