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

手稿F-Pbn Turc 292，是波兰出生的叛徒，奥斯曼宫廷音乐家和宫廷翻译Ali Ufuki （Albert Bobowski, c. 1610 - c. 1675）遗产的活页合集，是一个特殊的，复杂的来源，对各种学术学科具有很高的价值。在626页中，它包含了已知最早的奥斯曼音乐的各种流派的符号，在一个修改的西方五线谱。因此，它是少数现存的书面记录之一，几乎完全是口头传播的奥斯曼艺术和19世纪之前的民间音乐。此外，它还包含欧洲作品（主要是灵歌）、谱曲和大量语言文本，其中包括音乐理论、音乐教学和表演实践的评论，以及各种著名作家用于声乐表演的抒情文本，还有医学、炼金术和烹饪食谱、语法和语言笔记、文件和个人评论。Ali Ufuki的纲要，作为17世纪中期伊斯坦布尔和苏丹宫殿音乐生活的一种快照，是一个不可估量的价值来源，也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评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、源自不同音乐文化的符号系统中口头传播的音乐的固定、作者在国际知识网络中的地位以及他在奥斯曼和欧洲音乐史上关于曲目、传播背景、理论和表演实践的位置。由于第一个资助期主要致力于使音乐和音乐相关内容易于获取，批判性地编辑和分析，除了广泛搜索来源和二手文献外，曲目的背景化和理论背景将成为第二个资助期的重点。《纲要》构成部分的传统路线延伸到现在和现代奥斯曼音乐的表演实践。

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.