. "T\u00FCrkische Kunstmusik"@de . . "\"What our millions require is neither mystical tekke music, nor wine, nor wine-glass, nor beloved. Without delay, we must give our people sonic food on a universal scale. The damage already done to people's minds by drinking-house songs and worthless jazz tunes is comparable to the use of morphine and cocaine. We should not forget that in some countries, where musical culture is not as weak as our own, jazz is forbidden in order to protect the musical taste of the people."@en . . . . . . . "Ottoman music"@en . . . . . . "Mustafa Kemal"@en . . "\u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D\uFF08\u30AA\u30B9\u30DE\u30F3\u3053\u3066\u3093\u304A\u3093\u304C\u304F\uFF09\u306F\u3001\u30AA\u30B9\u30DE\u30F3\u5E1D\u56FD\u6642\u4EE3\u304B\u3089\u306E\u4F1D\u7D71\u3092\u3082\u3064\u3001\u30C8\u30EB\u30B3\u306E\u4F1D\u7D71\u7684\u82B8\u8853\u97F3\u697D\u306E\u3053\u3068\u3067\u3042\u308A\u3001\u30C8\u30EB\u30B3\u3067\u306F\u30C8\u30EB\u30B3\u53E4\u5178\u97F3\u697D\uFF08Klasik T\u00FCrk Musikisi,T\u00FCrk Kl\u00E2sik M\u00FCzi\u011Fi\uFF09\u3068\u547C\u3070\u308C\u308B\u3002 \u4ED6\u306E\u897F\u30A2\u30B8\u30A2\u306E\u4F1D\u7D71\u7684\u53E4\u5178\u82B8\u8853\u97F3\u697D\u3068\u6BD4\u8F03\u3059\u308B\u3068\u3001\u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D\u306F\u697D\u66F2\u306B\u3064\u3044\u3066\u30DE\u30AB\u30FC\u30E0\uFF08\u897F\u30A2\u30B8\u30A2\u97F3\u697D\u306E\u65CB\u6CD5\uFF09\u304C\u898F\u5236\u3059\u308B\u90E8\u5206\u304C\u5F31\u304F\u3001\u5373\u8208\u3068\u81EA\u7531\u3092\u91CD\u3093\u3058\u308B\u3053\u3068\u304C\u7279\u5FB4\u3067\u3042\u308B\u3068\u8A00\u308F\u308C\u308B\u3002 \u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D\u306F\u30A2\u30E9\u30D6\u97F3\u697D\u3068\u540C\u3058\u897F\u30A2\u30B8\u30A2\u53E4\u5178\u97F3\u697D\u306E\u4F1D\u7D71\u3092\u53D7\u3051\u7D99\u304E\u3001\u30A2\u30E9\u30D6\u97F3\u697D\u3068\u540C\u3058\u3088\u3046\u306B\u3001\u53E4\u3044\u6642\u4EE3\u306E\u30A2\u30E9\u30D6\u3084\u30DA\u30EB\u30B7\u30A2\u306E\u97F3\u697D\u306B\u52A0\u3048\u3066\u30A4\u30F3\u30C9\u3084\u30AE\u30EA\u30B7\u30E3\u306E\u97F3\u697D\u306E\u5F71\u97FF\u3082\u53D6\u308A\u8FBC\u3093\u3060\u3082\u306E\u3067\u3042\u308B\u3002\u4F7F\u308F\u308C\u308B\u697D\u5668\u3082\u3001\u30E8\u30FC\u30ED\u30C3\u30D1\u306E\u30EA\u30E5\u30FC\u30C8\u306E\u3082\u3068\u306B\u306A\u3063\u305F\u30A6\u30FC\u30C9 ud\u3001\u30C4\u30A3\u30BF\u30FC\u306E\u3082\u3068\u306B\u306A\u3063\u305F\u30AB\u30FC\u30CC\u30FC\u30F3 Kanun\u3001\u8466\u7B1B\u306E\u30CD\u30A4 Ney \u306A\u3069\u3001\u30A2\u30E9\u30D6\u53E4\u5178\u97F3\u697D\u3068\u5171\u901A\u3059\u308B\u3002 \u306A\u304A\u3001\u305D\u308C\u4EE5\u5916\u306E\u4EE3\u8868\u7684\u306A\u697D\u5668\u306B\u306F\u4EE5\u4E0B\u304C\u3042\u3052\u3089\u308C\u308B\u3002 \u65E5\u672C\u3067\u306F\u3042\u307E\u308A\u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D\u304C\u8074\u304F\u3053\u3068\u306F\u3067\u304D\u306A\u3044\u304C\u3001\u30B5\u30F3\u30C8\u30A5\u30FC\u30EA\u30FC\u30FB\u30A8\u30C8\u30D8\u30E0\u30FB\u30A8\u30D5\u30A7\u30F3\u30C7\u30A3 Santur\u00EE Ethem Efendi \uFF081855\u5E74 - 1926\u5E74\uFF09\u4F5C\u66F2\u306E\u30B7\u30A7\u30D5\u30CA\u30FC\u30BA\u30FB\u30ED\u30F3\u30AC \u015Eehnaz Longa \u3068\u547C\u3070\u308C\u308B\u697D\u66F2\u304C\u3001\u5973\u5B50\u5341\u4E8C\u697D\u574A\u306B\u3088\u308A\u300C\u81EA\u7531\u300D\u3068\u3044\u3046\u66F2\u540D\u3067\u6F14\u594F\u3055\u308C\u3001\u30C6\u30EC\u30D3CM\u3067\u6D41\u3055\u308C\u305F\u3053\u3068\u304C\u3042\u3063\u305F\u3002"@ja . . . . . . . "Erc\u00FCment Behzat Lav"@en . . . . . . . . . . "Die t\u00FCrkische Kunstmusik (T\u00FCrk Sanat M\u00FCzi\u011Fi, abgek\u00FCrzt TSM; auch: Kl\u00E2sik T\u00FCrk M\u00FBsik\u00EEsi \u201Eklassische t\u00FCrkische Musik\u201C, Saray M\u00FBsik\u00EEsi \u201EPalast-Musik\u201C) ist einer der zwei Hauptzweige der t\u00FCrkischen Musik; sie ist zu unterscheiden von der t\u00FCrkischen Volksmusik (T\u00FCrk Halk M\u00FCzi\u011Fi)."@de . . "1106964737"^^ . . . "Concepts of Western and Ottoman Music History"@en . . "La m\u00FAsica cl\u00E1sica otomana o m\u00FAsica cl\u00E1sica turca (en turco, T\u00FCrk sanat m\u00FCzi\u011Fi) es un tipo de m\u00FAsica desarrollada en la ciudad de Estambul y en otras importantes ciudades y pueblos otomanos a trav\u00E9s de los palacios y las logias suf\u00EDes del Imperio otomano.\u200B La m\u00FAsica otomana, basada principalmente en la voz, acompa\u00F1a a un cantante solista con un peque\u00F1o conjunto instrumental. En los \u00FAltimos a\u00F1os se han llegado a utilizar instrumentos como el tanbur, el ney, el kemenche y el qanun. A menudo descrita como m\u00FAsica monof\u00F3nica, por la variedad en la ornamentaci\u00F3n y en el conjunto debe ser descrita de forma m\u00E1s precisa como m\u00FAsica heterof\u00F3nica.\u200B"@es . . . . . . . . . . . . . "Ottoman music (Turkish: Osmanl\u0131 m\u00FCzi\u011Fi) or Turkish classical music (Turkish: T\u00FCrk sanat m\u00FCzi\u011Fi) is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble. A tradition of music that reached its golden age around the early 18th century, Ottoman music traces its roots back to the music of the Hellenic and Persianate world, a distinctive feature of which is the usage of a modal melodic system. This system, alternatively called makam, dastgah or echos, are a large and varied system of melodic material, defining both scales and melodic contour. In Ottoman music alone, more than 600 makams have been used so far, and out of these, at least 120 makams are in common use and formally defined. Rhythmically, Ottoman music uses the zaman and us\u00FBl systems, which determine time signatures and accents respectively. A wide variety of instruments has been used in Ottoman music, which include the turkish tanbur (lute), ney (end-blown reed flute), klasik kemen\u00E7e (lyra), keman (violin), kanun (zither), and others. Until the 19th century, in which Westernization caused Western classical music to replace the native Ottoman tradition, Ottoman music remained the dominant form of music in the empire, and therefore evolved into a diverse form of art music, with forms such as the pe\u015Frev, k\u00E2r and saz sema\u00EE evolving drastically over the course of the empire's history, as the Ottomans' classical tradition also found its place outside of the court. By the end of the 18th century, Ottoman music had incorporated a diverse repertoire of secular and religious music of a wide variety of musicians, including post-Byzantine music, Sephardic music and others. 19th century Ottoman elites saw Ottoman music as primitive and underdeveloped in relation to Western music, and stopped its courtly patronage. This resulted in many classical musicians being forced to work in entertainment-related contexts, and gave rise to a much simpler style, named gazino. After the Ottoman Empire collapsed, the new republican elite tried to suppress Ottoman music further, in an attempt to hasten the process of Westernization. The decline which followed resulted in drastic changes in Ottoman music, and as the new republican elite failed to create an alternative to Ottoman music, the remnants of Ottoman tradition were appropriated and nationalized by the 1980 military regime."@en . . . . "\u062A\u0645 \u062A\u0637\u0648\u064A\u0631 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629 \u0648\u0627\u0644\u0645\u0639\u0631\u0648\u0641\u0629 \u0623\u064A\u0636\u064B\u0627 \u0628\u0627\u0633\u0645 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629 \u0627\u0644\u062A\u0631\u0643\u064A\u0629 (\u0628\u0627\u0644\u062A\u0631\u0643\u064A\u0629: T\u00FCrk sanat muzi\u060C \u0623\u0648 \"\u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0641\u0646\u064A\u0629 \u0627\u0644\u062A\u0631\u0643\u064A\u0629\"\u060C \u0623\u0648 Klasik T\u00FCrk m\u00FCzi\u011Fi) \u0641\u064A \u0625\u0633\u0637\u0646\u0628\u0648\u0644 \u0648\u063A\u064A\u0631\u0647\u0627 \u0645\u0646 \u0627\u0644\u0645\u062F\u0646 \u0648\u0627\u0644\u0628\u0644\u062F\u0627\u0646 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629 \u0627\u0644\u0631\u0626\u064A\u0633\u064A\u0629 \u0639\u0628\u0631 \u0627\u0644\u0642\u0635\u0648\u0631 \u0627\u0644\u0646\u0632\u0644 \u0627\u0644\u0635\u0648\u0641\u064A\u0629 \u0644\u0644\u0625\u0645\u0628\u0631\u0627\u0637\u0648\u0631\u064A\u0629 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629. \u0642\u0628\u0644 \u0643\u0644 \u0634\u064A\u0621 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0635\u0648\u062A\u064A\u0629 \u062A\u0631\u0627\u0641\u0642 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629\u060C \u062A\u0642\u0644\u064A\u062F\u064A\u064B\u0627 \u0645\u063A\u0646\u064A \u0645\u0646\u0641\u0631\u062F \u0645\u0639 \u0641\u0631\u0642\u0629 \u0645\u0648\u0633\u064A\u0642\u064A\u0629 \u0635\u063A\u064A\u0631\u0629. \u0641\u064A \u0627\u0644\u0622\u0648\u0646\u0629 \u0627\u0644\u0623\u062E\u064A\u0631\u0629\u060C \u0642\u062F \u062A\u0634\u0645\u0644 \u0627\u0644\u0622\u0644\u0627\u062A \u0627\u0644\u062A\u0631\u0643\u064A\u0629 (\u0627\u0644\u0639\u0648\u062F)\u060C \u0627\u0644\u0646\u0627\u064A\u060C \u0627\u0644\u0643\u0645\u0646\u062C\u0629 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629\u060C \u0627\u0644\u0643\u0645\u0627\u0646 \u0627\u0644\u063A\u0631\u0628\u064A \u0623\u0648 \u063A\u064A\u0631\u0647\u0627 \u0645\u0646 \u0627\u0644\u0635\u0643\u0648\u0643. \u0641\u064A \u0628\u0639\u0636 \u0627\u0644\u0623\u062D\u064A\u0627\u0646 \u062A\u0648\u0635\u0641 \u0628\u0623\u0646\u0647\u0627 \u0645\u0646\u0648\u0641\u0648\u0646\u064A\u0629 \u0627\u0644\u062A\u064A \u062A\u062A\u0643\u0648\u0646 \u0645\u0646 \u0635\u0648\u062A \u0648\u0627\u062D\u062F."@ar . . . "La musica classica ottomana, nota anche come musica classica turca (in turco: T\u00FCrk sanat m\u00FCzi\u011Fi, \"musica d'arte turca\"; o Klasik T\u00FCrk m\u00FCzi\u011Fi, \"musica classica turca\"; anche Saray M\u00FBsik\u00EEsi, \"musica del palazzo\"), \u00E8 stata sviluppata a Istanbul e in altre importanti citt\u00E0 ottomane attraverso le case e le logge Sufi dell'Impero ottomano. Soprattutto una musica vocale, la musica ottomana accompagna tradizionalmente un cantante solista con un piccolo ensemble strumentale. In tempi recenti, gli strumenti potrebbero includere tambur (liuto), ney (flauto), kemen\u00E7e (violino), keman (violino occidentale), kanun (cetra) o altri strumenti. Talvolta descritta come musica monofonica, la variet\u00E0 di ornamenti e variazioni nell'ensemble richiede il termine pi\u00F9 preciso eterofonico."@it . . "58715"^^ . . . . . . "Die t\u00FCrkische Kunstmusik (T\u00FCrk Sanat M\u00FCzi\u011Fi, abgek\u00FCrzt TSM; auch: Kl\u00E2sik T\u00FCrk M\u00FBsik\u00EEsi \u201Eklassische t\u00FCrkische Musik\u201C, Saray M\u00FBsik\u00EEsi \u201EPalast-Musik\u201C) ist einer der zwei Hauptzweige der t\u00FCrkischen Musik; sie ist zu unterscheiden von der t\u00FCrkischen Volksmusik (T\u00FCrk Halk M\u00FCzi\u011Fi)."@de . . . . . . . . . . . . . . . . . . "A \u201Ccomposer\u201D in the Ottoman context is not an \u201Coriginal genius\u201D, who by himself creates anew. He is rather a person experienced in the musical tradition, who \u2013 within certain rules \u2013 through the combination of basic elements of form, rhythm and melodic models, creates a new derivation. This derivation passes on to the transmitting community who continue to compose and revise coequally with the composer and adjusts his original \u201Cderivation\u201D to ever-changing aesthetic standards."@en . . . . . . . . . . . . . . . . . . . . "M\u00FAsica cl\u00E1ssica otomana"@pt . . . . . "\u0645\u0648\u0633\u064A\u0642\u0649 \u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629 \u0639\u062B\u0645\u0627\u0646\u064A\u0629"@ar . . . . . . . "La musica classica ottomana, nota anche come musica classica turca (in turco: T\u00FCrk sanat m\u00FCzi\u011Fi, \"musica d'arte turca\"; o Klasik T\u00FCrk m\u00FCzi\u011Fi, \"musica classica turca\"; anche Saray M\u00FBsik\u00EEsi, \"musica del palazzo\"), \u00E8 stata sviluppata a Istanbul e in altre importanti citt\u00E0 ottomane attraverso le case e le logge Sufi dell'Impero ottomano. Soprattutto una musica vocale, la musica ottomana accompagna tradizionalmente un cantante solista con un piccolo ensemble strumentale. In tempi recenti, gli strumenti potrebbero includere tambur (liuto), ney (flauto), kemen\u00E7e (violino), keman (violino occidentale), kanun (cetra) o altri strumenti. Talvolta descritta come musica monofonica, la variet\u00E0 di ornamenti e variazioni nell'ensemble richiede il termine pi\u00F9 preciso eterofonico."@it . . . . . . "\"The art of musick almost forgot, not only re-viv\u2019d, but was rendered more perfect by Osman Effendi, a noble Constantinopolitan.\u201D"@en . . . . . . . . . . . . "\u062A\u0645 \u062A\u0637\u0648\u064A\u0631 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629 \u0648\u0627\u0644\u0645\u0639\u0631\u0648\u0641\u0629 \u0623\u064A\u0636\u064B\u0627 \u0628\u0627\u0633\u0645 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629 \u0627\u0644\u062A\u0631\u0643\u064A\u0629 (\u0628\u0627\u0644\u062A\u0631\u0643\u064A\u0629: T\u00FCrk sanat muzi\u060C \u0623\u0648 \"\u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0641\u0646\u064A\u0629 \u0627\u0644\u062A\u0631\u0643\u064A\u0629\"\u060C \u0623\u0648 Klasik T\u00FCrk m\u00FCzi\u011Fi) \u0641\u064A \u0625\u0633\u0637\u0646\u0628\u0648\u0644 \u0648\u063A\u064A\u0631\u0647\u0627 \u0645\u0646 \u0627\u0644\u0645\u062F\u0646 \u0648\u0627\u0644\u0628\u0644\u062F\u0627\u0646 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629 \u0627\u0644\u0631\u0626\u064A\u0633\u064A\u0629 \u0639\u0628\u0631 \u0627\u0644\u0642\u0635\u0648\u0631 \u0627\u0644\u0646\u0632\u0644 \u0627\u0644\u0635\u0648\u0641\u064A\u0629 \u0644\u0644\u0625\u0645\u0628\u0631\u0627\u0637\u0648\u0631\u064A\u0629 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629. \u0642\u0628\u0644 \u0643\u0644 \u0634\u064A\u0621 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0635\u0648\u062A\u064A\u0629 \u062A\u0631\u0627\u0641\u0642 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u0639\u062B\u0645\u0627\u0646\u064A\u0629\u060C \u062A\u0642\u0644\u064A\u062F\u064A\u064B\u0627 \u0645\u063A\u0646\u064A \u0645\u0646\u0641\u0631\u062F \u0645\u0639 \u0641\u0631\u0642\u0629 \u0645\u0648\u0633\u064A\u0642\u064A\u0629 \u0635\u063A\u064A\u0631\u0629. \u0641\u064A \u0627\u0644\u0622\u0648\u0646\u0629 \u0627\u0644\u0623\u062E\u064A\u0631\u0629\u060C \u0642\u062F \u062A\u0634\u0645\u0644 \u0627\u0644\u0622\u0644\u0627\u062A \u0627\u0644\u062A\u0631\u0643\u064A\u0629 (\u0627\u0644\u0639\u0648\u062F)\u060C \u0627\u0644\u0646\u0627\u064A\u060C \u0627\u0644\u0643\u0645\u0646\u062C\u0629 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629\u060C \u0627\u0644\u0643\u0645\u0627\u0646 \u0627\u0644\u063A\u0631\u0628\u064A \u0623\u0648 \u063A\u064A\u0631\u0647\u0627 \u0645\u0646 \u0627\u0644\u0635\u0643\u0648\u0643. \u0641\u064A \u0628\u0639\u0636 \u0627\u0644\u0623\u062D\u064A\u0627\u0646 \u062A\u0648\u0635\u0641 \u0628\u0623\u0646\u0647\u0627 \u0645\u0646\u0648\u0641\u0648\u0646\u064A\u0629 \u0627\u0644\u062A\u064A \u062A\u062A\u0643\u0648\u0646 \u0645\u0646 \u0635\u0648\u062A \u0648\u0627\u062D\u062F."@ar . "A m\u00FAsica cl\u00E1ssica otomana (Kl\u00E2sik T\u00FCrk M\u00FBsik\u00EEsi, Sanat M\u00FBsik\u00EEsi, Saray M\u00FBsik\u00EEsi) desenvolveu-se em pal\u00E1cios, mesquitas e mevlevi lodges do Imp\u00E9rio Otomano. V\u00E1rios sistemas de nota\u00E7\u00E3o foram usados \u200B\u200Bpara transcrever m\u00FAsica cl\u00E1ssica, sendo a mais dominante a nota\u00E7\u00E3o Hamparsum em uso at\u00E9 a introdu\u00E7\u00E3o gradual da nota\u00E7\u00E3o ocidental. Embora as contribui\u00E7\u00F5es do n\u00E3o-turco \u00E0 m\u00FAsica otomana tenham sido marginalizadas desde a dissolu\u00E7\u00E3o do Imp\u00E9rio Otomano, o sistema de nota\u00E7\u00E3o Hamparsum foi inventado por um arm\u00EAnio otomano chamado tornou-se o fundamento da cl\u00E1ssica otomana makam theory e tamb\u00E9m foi usado pela Igreja Apost\u00F3lica Arm\u00EAnia."@pt . . . . "1543146"^^ . "\u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D"@ja . . . . . "Ottoman music (Turkish: Osmanl\u0131 m\u00FCzi\u011Fi) or Turkish classical music (Turkish: T\u00FCrk sanat m\u00FCzi\u011Fi) is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble."@en . . . . . . . . . "A m\u00FAsica cl\u00E1ssica otomana (Kl\u00E2sik T\u00FCrk M\u00FBsik\u00EEsi, Sanat M\u00FBsik\u00EEsi, Saray M\u00FBsik\u00EEsi) desenvolveu-se em pal\u00E1cios, mesquitas e mevlevi lodges do Imp\u00E9rio Otomano. V\u00E1rios sistemas de nota\u00E7\u00E3o foram usados \u200B\u200Bpara transcrever m\u00FAsica cl\u00E1ssica, sendo a mais dominante a nota\u00E7\u00E3o Hamparsum em uso at\u00E9 a introdu\u00E7\u00E3o gradual da nota\u00E7\u00E3o ocidental. Embora as contribui\u00E7\u00F5es do n\u00E3o-turco \u00E0 m\u00FAsica otomana tenham sido marginalizadas desde a dissolu\u00E7\u00E3o do Imp\u00E9rio Otomano, o sistema de nota\u00E7\u00E3o Hamparsum foi inventado por um arm\u00EAnio otomano chamado tornou-se o fundamento da cl\u00E1ssica otomana makam theory e tamb\u00E9m foi usado pela Igreja Apost\u00F3lica Arm\u00EAnia."@pt . . . . . "Musica classica ottomana"@it . "\u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D\uFF08\u30AA\u30B9\u30DE\u30F3\u3053\u3066\u3093\u304A\u3093\u304C\u304F\uFF09\u306F\u3001\u30AA\u30B9\u30DE\u30F3\u5E1D\u56FD\u6642\u4EE3\u304B\u3089\u306E\u4F1D\u7D71\u3092\u3082\u3064\u3001\u30C8\u30EB\u30B3\u306E\u4F1D\u7D71\u7684\u82B8\u8853\u97F3\u697D\u306E\u3053\u3068\u3067\u3042\u308A\u3001\u30C8\u30EB\u30B3\u3067\u306F\u30C8\u30EB\u30B3\u53E4\u5178\u97F3\u697D\uFF08Klasik T\u00FCrk Musikisi,T\u00FCrk Kl\u00E2sik M\u00FCzi\u011Fi\uFF09\u3068\u547C\u3070\u308C\u308B\u3002 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\u65E5\u672C\u3067\u306F\u3042\u307E\u308A\u30AA\u30B9\u30DE\u30F3\u53E4\u5178\u97F3\u697D\u304C\u8074\u304F\u3053\u3068\u306F\u3067\u304D\u306A\u3044\u304C\u3001\u30B5\u30F3\u30C8\u30A5\u30FC\u30EA\u30FC\u30FB\u30A8\u30C8\u30D8\u30E0\u30FB\u30A8\u30D5\u30A7\u30F3\u30C7\u30A3 Santur\u00EE Ethem Efendi \uFF081855\u5E74 - 1926\u5E74\uFF09\u4F5C\u66F2\u306E\u30B7\u30A7\u30D5\u30CA\u30FC\u30BA\u30FB\u30ED\u30F3\u30AC \u015Eehnaz Longa \u3068\u547C\u3070\u308C\u308B\u697D\u66F2\u304C\u3001\u5973\u5B50\u5341\u4E8C\u697D\u574A\u306B\u3088\u308A\u300C\u81EA\u7531\u300D\u3068\u3044\u3046\u66F2\u540D\u3067\u6F14\u594F\u3055\u308C\u3001\u30C6\u30EC\u30D3CM\u3067\u6D41\u3055\u308C\u305F\u3053\u3068\u304C\u3042\u3063\u305F\u3002"@ja . . . . . . . . . . . . . . . . . . "M\u00FAsica cl\u00E1sica otomana"@es . "\"This unsophisticated music can not feed the needs of the Turkish soul, the Turkish sensibility to explore new paths. We have just heard the music of the civilized world [Western music], and the people who gave a rather anemic reaction to the murmurings known as Eastern music, immediately came to life. Turks are, indeed, naturally vivacious and high-spirited, and if these admirable characteristics were for a time not perceived, it was not their fault."@en . . . . . . . . . . . . . . "Dimitrie Cantemir"@en . . . "Today, if a person were to organize his life along the lines of \u00D6mer Hayyam or Mevlana, he would be very likely be considered mad and perhaps even locked up. It is a social necessity in this mechanizing Turkey of today to confine to the dustbin of history the opium-like music of the unlearned man. In the first step in this sorting and cleansing operation for the ear, the publication and printing of songs should be strictly limited and controlled.\""@en . . . . "La m\u00FAsica cl\u00E1sica otomana o m\u00FAsica cl\u00E1sica turca (en turco, T\u00FCrk sanat m\u00FCzi\u011Fi) es un tipo de m\u00FAsica desarrollada en la ciudad de Estambul y en otras importantes ciudades y pueblos otomanos a trav\u00E9s de los palacios y las logias suf\u00EDes del Imperio otomano.\u200B La m\u00FAsica otomana, basada principalmente en la voz, acompa\u00F1a a un cantante solista con un peque\u00F1o conjunto instrumental. En los \u00FAltimos a\u00F1os se han llegado a utilizar instrumentos como el tanbur, el ney, el kemenche y el qanun. A menudo descrita como m\u00FAsica monof\u00F3nica, por la variedad en la ornamentaci\u00F3n y en el conjunto debe ser descrita de forma m\u00E1s precisa como m\u00FAsica heterof\u00F3nica.\u200B"@es . . . . . . . . . . "Ralf Martin J\u00E4ger"@en . . .