Preface to the New Edition 1 Chronologies and "Local Modernity" 2 Instrumental Music: Mehterhane and Fasil-i Sazende Acknowledgements List of Figures, Tables and Music Examples xxvi The Structuring of the Book Introduction 1 Turkish Classical Music and Ottoman Music 2 Ethnomusicology and History in Ottoman Turkey The Major Sources for Ottoman Music 1650-1750 Part 1: Musicians and Performance 1 Professionalism and the Music of the Ottoman Court 1 The Ottomans and the Turco-Mongol Courtly Heritage 2 The Emergence of Ottoman Court Music 3 Vocalists and Instrumentalists 4 The Geographical Origin of the Musicians and Location of Musical Centers 5 Changes in the Ruling Class and in the Organization of Music in the Palace 6 Unfree Musicians 7 Free Musicians in the Palace Service and the Bureaucracy2 Professionalism and the Music of the Ottoman Court: Dervishes and Turkish Art Music 1 The Mevleviye 2 Music in the Other Sunni tarikats 3 Conclusion3 Instruments and Instrumentalists 1 Sources for the Instrumentation of Ottoman Music 2 Organ and Genre 3 The Ottoman Court Ensemble of the Sixteenth Century 4 The Ottoman Ensemble from the Seventeenth to the Mid-Eighteenth Century 5 Social Contexts of the Turkish Lutes 6 Conclusion4 The Ottoman Cyclical Concert-Formats Fasil and Ayin 1 The Structure of the Ottoman Fasil 2 The Fasl-i Sazende 3 Structure of the Fasl-i Sazende 4 The Mevlevi Ayin Part 2: Makam 5 The General Scale of Seventeenth-Century Ottoman Music 1 Nomenclature of Scale Degree and Mode 2 Cantemir''s General Scale 3 The Problem of the Note Segah 4 Saba, Uzzal, Beyati, Hisar 5 Conclusion 6 A Note on Symbols6 Makam and Terkib 1 Other Modal Entities 2 Terkib and sube Structures 3 The Terkib in the Eighteenth Century7 Melodic Progression 1 Seyir in Compositions 2 Cantemir''s Terminology for Melodic Progression 3 Hizir Aga and Harutin8 The Taksim and Modulation 1 The Generic Nature and Origin of the Taksim 2 Turkish and Persian "Taksim" in Cantemir''s Treatise 3 Modulation and the Taksim 4 Modulation and the Küll-i Külliyat Genre 5 Conclusion Part 3: Pesrev and Semai 9 The Pesrev/Pishrow 1 The Pesrev as Genre 2 Origin and Structure of the Pesrev/Pishrow 3 Generic Variation within the Ottoman Pesrev10 The Ottoman Pesrev 1 Periodization of the Turkish Pesrev 2 Factors Leading to Change in the Formal Structure of the Pesrev 3 Conclusion11 Pesrevs and Analyses 1 Period I (1500-1550) 2 Period 2 (1550-1600) 3 Period 3 (1600-1650) 4 Period 4 (1650-1690) 5 Neyzen Ali Hoca 6 The Pesrevs of Cantemir 7 Muhayyer Muhammes 8 Buselik-Asirani Berefsan 9 Conclusion12 The Seventeenth-Century Persian Pesrev 1 Pesrevs and Analyses13 Transmission of the Ottoman Pesrev Repertoire 1 Transmission of the Pesrev during the Seventeenth Century: Pesrevs and Analyses 2 The Nazire ("Imitatio") 3 Conclusion 4 Transmission of the Pesrev in the Eighteenth Century14 The Instrumental Semai 1 Semai-i Sazende in the Later Seventeenth Century 2 Periodization of the Semai-i Sazende/Saz Semaisi 3 Analysis of the Seventeenth-Century Semai Documents 4 Semai-i Lenk/Aksak Semai 5 Transformation of the Old Semai 6 Conclusion15 Conclusion 1 The Departure of Turkey from the "Persianate" Musical Sphere 2 The New Ottoman Style of the Eighteenth Century Glossary Figure Credits Bibliography Index.