The Ottoman Tanbûr provides a detailed study of the history of this long-necked lute-like instrument, its role in Ottoman music, construction and playing technique. Tanbûrs are played in the art, Sufi, and folk musical traditions along the Silk Road and beyond. In Turkey, the name tanbûr is mainly used as a name for the long-necked tanbûr of Ottoman art music, the Ottoman tanbûr. The origin and early development of the Ottoman tanbûr is, notwithstanding its importance, still not fully understood due to the absence or scarcity of literary and iconographical sources, while well-preserved Ottoman tanbûrs are rare or non-existent. The book explores the political and cultural-historical conditions that contributed to the development of a distinct Ottoman Art music (Osmanl sanat mûsîkîsi) in the seventeenth and eighteenth centuries and the central place given to the tanbûr. Thereafter, Ottoman art music and the Ottoman tanbûr suffered from official neglect until the end of the Ottoman Empire in 1918 and even rejection after the establishment of the Republic of Turkey in 1923. This situation changed after the foundation of the first Turkish music conservatory in 1975 at the Istanbul Teknik Üniversitesi (ITÜ). The revival of Ottoman art music since the 1990s resulted in a rehabilitation of Ottoman art music and of the Ottoman tanbûr whose days had seemed to be numbered.
List of Figures ;
Preface and Acknowledgements ;
General Introduction ;
Chapter 1: The Turko-Persian Culture and Heritage ;
Introduction ;
The Rûm-Seljuq Turko-Persian Culture in Anatolia ;
The Tîmûrid Turko-Persian Art Music ;
The Safavids and Tîmûrid Turko-Persian Art Music ;
The Ottomans and Tîmûrid and Safavid Turko-Persian Art Music ;
The Decline of Ottoman Turko-Persian Art Music ;
Chapter 2: The Rise of Ottoman Art Music and Ottoman Tanbûr ;
Introduction ;
The Origin of the Ottoman Tanbûr ;
The Ottoman Tanbûr in the 18th Century ;
Chapter 3: Negligence, Rejection, and Revival of Ottoman Art Music ;
Introduction ;
The Ottoman Tanbûr in the 19th and Early 20th Century ;
Ottoman Art Music and Ottoman Tanbûr and The Republic of Turkey ;
Chapter 4: Construction ;
Introduction ;
The Anatomy of the Ottoman Tanbûr ;
The Choice of Wood ;
The Drying of Wood ;
Construction Process ;
The Bowl, Neck, and Soundboard ;
Bridge, Nut, and Tailpiece ;
Frets, Strings, and Tuning ;
Ornamentation ;
Chapter 5: Playing Technique ;
Introduction ;
Playing Position ;
Left Hand Finger Technique ;
Right Hand Plectrum Technique ;
Execution Melody ;
Appendix 1: Ottoman Tanbûr - Charles Fonton ;
Appendix 2: Ottoman Tanbûr - Guillaume-André Villoteau ;
Appendix 3: Ottoman Tanbûr - Raûf Yektâ ;
Discography ;
Bibliography ;
Glossary ;
Illustration Credits ;
Index
Hans de Zeeuw began to take balama lessons and became interested in its long and fascinating history while working at the Free University in Amsterdam and studying at the Open University. This led him to decide to break off his studies and focus, for many years, on research into the Turkish saz or balama under the supervision of Dr Leo Plenckers of the Department of Musicology of the University of Amsterdam and Dr Okan Murat Öztürk of the Devlet Konservatuvar of the Bakent Üniversitesi in Ankara. His publications include Tanbûr Long-Necked Lutes along the Silk Road and beyond (2019, Archaeopress) and The Turkish Long-Necked Lute Saz or Baglama (2020, Archaeopress), both supervised by Dr Saskia Willaert of the Musical Instrument Museum (MIM) in Brussels.
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