Pan Yayıncılık's Books in English

Books in English

Pan YayıncılıkBarbaros Bulvarı 18/4 Beşiktaş - İSTANBULTel. (0212) 227 56 75 - 261 80 72Faks (0212) 227 56 [email protected]

Other Wordsİlhan Mimaroğlu

The oherness of the words in this book refers to their being those of the English language and marks the difference that all my books up to the present one were in Turkish. Throughout the years several of my writings were in English, many of which are collected here for the first time, inclusive of what’s below:BIO (UPRGRADABLE)Time has told in first person singular that I was born March 11, 1926, in Istanbul, Turkey;

son of eminent architect, Kemallettin, whom I have never known as he died when I was barely a year old. He had wanted me to grow up with music. There was a phonograph in our house and a number of classical records. Those were my only toys. I was also hearing music that the environment was offering me, music that I regarded rather anodine and began to say to myself that there ought to be more to music than all that. Indeed there was. First jazz revealed itself to me, then contem-porary art music. My mother wanted me to goto the conservatory. I declined. They would teach me the wrong things there and I didn’t know enough about music yet to tell what’s wrong and what’s not. Instead, law school. I couldn’t have cared less about law anyway. But I learned one important thing there, that I should obey only laws I could have made myself. Then came the time for music education as I knew

ISBN 978-9758-434-64-0108 p., 11 x 15 cmİstanbul, 2004

enough about music to avoid the pitfalls. One learns best what one already knows. The first products of electronic music and/or musique concrète reached me in the early fifties. By that time I had established a reputation in Turkey as a writer and broadcaster on music. The Rockefeller Foundation heard about me and had me visit New York for a program of studies at Columbia University (prmiarly in musicology under Paul Henry Lang and composition under Douglas Moore). A few years later I returned to New York to establish residence and further my studies at Colum-bia with a program centered around electronic music as in the course of my first visit I had come into closer contact with the work in electronic music (tape music) conducted at Columbia University by Otto Luening and Vladimir Ussachevsky. For many years I worked in the studios of the Columbia-Princeton Electronic Music Center. My primary mentor was Ussachevsky. I also had the occasion to work with Edgard Varèse and Stefan Wolpe, among others. In the early 1970’s I was awarded a Guggenheim Fellowship in music composition. In addition to my electronic and instrumental/vocal compositions, I wrote a number of books (on history of music, jazz, electronic music, plus a set of diaries, all published in Turkey). Even if I hadn’t done anything else, having written (and published) my “Project Utopia” pamphlet, I would have regarded my existence justified.

İlhan Mimaroğlu

71 Turkish ComposersEvin İlyasoğlu

The new aesthetic that arrived with the XXth Century carried music, along with all branches of art. Turkish composers too, created exam-ples of the new music of the age, beginning in the 1920s. They combined their voices with universal methods and merged their heritage with the sounds of the age. The first genera-tions followed the pioneering movements of the time and, taking traditional Turkish mu-sic as a starting point, enthusiastically shaped Turkey’s new music by not only composing but

also teaching and conducting. The generations that followed resonated traditional melodies in between the lines as well as abstracting the general direction of music. Today’s young generations now count amongst the universals, just as in many other lands, with their works recorded on CDs and played everywhere.Evin İlyasoğlu reaches from the vanguard of comtemporary Turkish composers through to the youngest generation. 71 Turkish Composers, published bilingually in Turkish and English, covers the composers’ biographies, lists of works and dis-cographies. This is a comprehensive reference book on comtemporary Turkey for researchers, interpreters, concert-hall managers and music students as much as those not immediately connected with music.

ISBN 978-9944-396-25-7356 p., 16 x 23,5 cmİstanbul, 2007

Techniques of 20th-Century Turkish “Contemporary” Music Alper Maral and Mark Lindley

For Turkish composers then and for quite after a while afterwards, to write “contemporary” music meant to adopt European techniques and follow European models, though with a few adjustments accommodating local tastes and institutions. But gradually in the latter half of the century a tendency to become pathfind-ers and not just follow Western trends emerged among some composers whose Western orien-tation was influenced more by American than by European schools. This book describes, with representative examples in musical notation, a series of compositional techniques that were hallmarks of this broad development.

ISBN 978-6054-518-06-773 p., 19,5 x 26,5 cmİstanbul, 2011

Meanings in Turkish Musical Culture Eugenia Popescu-Judetz

Eugenia Popescu-Judetz is an ethnomusicolo-gist and art historian with foremost expertise in Turkish musical writings and performing arts of the Ottoman period. Adjunct Professor and Museum Consultant to Duquesne Univer-sity in Pittsburgh, Pennsylvania, she has taught courses in the folk music and performing arts of Eastern Europe and Turkey. She is the author of several monographs and essays on Turkish music sources and Romanian folk arts.

ISBN 978-9757-652-53-395 p., 13,5 x 19,5 cmİstanbul, 1996

Prince Dimitrie Cantemir Theorist and Composer of Turkish MusicEugenia Popescu-Judetz

The present book is not limited to the study of Cantemir`s treatise on Ottoman music. It first gives us the complete story of his eventful and dramatic life including his Russian stage and an account of his multifarious activities. In the same chapter the writer goes through not only his history of the Ottoman empire but other Cantemir books and other Romanian sources about the Prince and familiarises us with the content of these works. Her quotations from and references to various non-standard sources make this part of the book more useful and ap-pealing. I believe this introduction will become a standard source for anybody who is to consid-er Cantemir`s life, his story and other works.


Sources of 18th Century Music Eugenia Popescu-Judetz

This book presents the comparative treatises written in Greek by Panayiotes Chalatzoglou and Kyrillos Marmarinos. The concerned analy-sis places their works within the socio-cultural setting of Ottoman musical writtings of the first half of eighteenth century and parallels them to other sources.


Tanburî Küçük ArtinA Musical Treatrise of the Eighteenth CenturyEugenia Popescu-Judetz

This book is a in-depth examination of Tanburî Küçük Artin’s unique work written in Turkish with Armenian characters on the practical the-ory of the Ottoman art music of the eighteenth century. A court musician to Sultan Mahmud I and also to Nadir Shah of Iran, the Armenian musician Artin has traveled from Istanbul to India gathering along the way an abundance of musical knowledge and colorful anecdotes form vast regions. Placed at midway between Dimit-

rie Cantemir and Abdülbaki Dede, he occpuies a privileged position in the history of Turkish music as an original writer and inventive musician and tanbur teacher.The presentation in this inquisitive study by Eugenia Popescu-Judetz is intended for both musicians and musicologists. It includes Artin’s original text composed in Turkish with notational examples, a comprehensive commentary and insightful analysis, and is completed withh a series of comparative tables.


Beyond the Glory of the Sultans Cantemir’s View of the TurksEugenia Popescu-Judetz

Prince Dimitrie Cantemir (1673-1723) com-bined a multitude of talents in a complex per-sonality of spiritual enlightenment and intel-lectual curiosity. His works form a reservoir of facts and histories that reveal surprising angles to many philosophical and cultural questions through a maze of revolving evasions in search for the deep meaning. Cantemir never ceased to amaze European and Turkish intellectuals with the wealth of his analyses and observations across interrelated areas of knowledge. The hu-manistic curiosity of Cantemir has no limits as he continues to move around the multifaceted points of his attention in search of the ultimate perspective to his subjects. The Turks, their ac-tions and customs aggressive and kindly, genu-ine and symbolic, ordinary and majestic, stand in overwhelming light on the center stage of Cantemir`s world of configurations.


Three Comparative Essays on Turkish MusicEugenia Popescu-Judetz

This book scrutinizes three different theoretical as-pects of Ottoman sources. The first essay discusses the principles of makam classification proposed by diverse Ottoman writers and compares their ideas within socio-cultural setting. The resulting analogies and polarities are outlined in order to emphasize the essential ideas in the perspective of musical creativ-ity. The second essay explores Dimitrie Cantemir`s compositions and establishes the authenticity of the pieces that have circulated in the general repertory of

Turkish classical music under his signature. The provenance of the compositions evidences the way written and oral sources crossed borders and combined as to further generate new materials out of a commixture of original and derivative elements. In essence, oral tradition has interacted and interfered in forming Cantemirian repertory adding versions and variants that were transmitted independently and were accepted as authoritative creations by the community of musicians and the public of music lovers. The third essay evokes the person-ality of Hasan Talat Bey of Bebek, a remarkable patron of musicians and collector of music, who sponsored weekly musical gatherings in his mansion. There gathered frequently the music makers, creators and performers of songs and instrumental pieces. The happening of music gatherings was memorialized in the tablets with written music and decorative embel-lishments the host used to offer the guests as souvenirs. In addition, the discussion includes the survey of the song collection owned by Hasan Talat with title entries.


A Summary Catalogue of the Turkish MakamsEugenia Popescu-Judetz

For over three decades I had the opportunity to re-search on Ottoman musical writings in the Turkish li-braries and to consult private collections. Concurrent-ly, I was able to study Ottoman musical manuscripts kept in libraries outside Turkey. Along those years of research I carried out persistent investigations that gave me access to a large number of Ottoman materi-als ranging from the fifteenth century to the end of the nineteenth century. As a result of examining numer-ous musical manuscripts in Ottoman Turkish litera-

ture I discerned the commonplace of themes in the majority of writings and evaluated their structure at formal and generative level. Moreover, I was able to ascertain the significant purport of certain sources over others and to compare several versions of the texts. The idea of this catalogue evolved gradually in my mind from the perception that an explicit presentation of the makams would constitute a valuable reference both for evaluating the historical process of creating and performing music, as well as for establishing the inven-tory of modal categories and their taxonomic relations. As time passed, I was able to de-termine the development of a genuine Turkish concept in works that provided descriptive and analytical matter, and to detect through manuscript lines the significance of the pro-cess involving the semantics of the practice of music at different periods. The present book is mainly focused upon the practical theory of the makams reflected in the production and performance of the melodic scales the way they are described in Ottoman manuscripts.


Ud Exercises Building Technique Enver Mete Aslan

First, there was the meşk system. Then came the methods…As our conservatories developed and multiplied, so didi the published instrument methods. But they were insufficient. There jas a need for tech-nique for advanced performance, and books of etudes and exeıcises to develop technique. And nowhere is the need more apparent than for the ud.I became aware of this book by E. Mete aslan during hes Master’s work, in which I served as his advisor. The book presents etudes annd ex-ercises for the improvement of ud techniques, logically categorized, and in sustainable doses. I saw that it was also ready for printing. Just as in the western method-albums that we desire to emulate, the notation and writing were excel-lent. It is a fine and useful book, sure to be ex-tremely helpful to all who work attentively and prsevere their efforts.

Mutlu Torun


Teaching the Ney with the Meşk Method Burcu Karadağ

This book is not a “method.” A book alone is in-sufficient for teaching Turkish music. The foun-dation of Turkish musical training, the above-mentioned meşk system, is a master-apprentice relationship. Works such as this must be seen only as guidance in the meşk system. Tho book does not contain all the makams of Turkish mu-sic. Rather, in view of the four-year education received by ney students it provides an array of makams in order of diffculty. “Abbreviated” theoretical information is provided for each makam as well as important points and easy ways to perform them.

You can listen to the exercises played by Burcu Karadağ from our website: www.pankitap.com


• Other Words / İlhan Mimaroğlu

• 71 Turkish Composers / Evin İlyasoğlu

• Techniques of 20th-Century Turkish “Contemporary” Music / Alper Maral and Mark Lindley

• Meanings in Turkish Musical Culture / Eugenia Popescu-Judetz

• Prince Dimitrie Cantemir / Eugenia Popescu-Judetz

• Sources of 18th Century Music / Eugenia Popescu-Judetz

• Tanburî Küçük Artin / Eugenia Popescu-Judetz

• Beyond the Glory of the Sultans Cantemir’s View of the Turks / Eugenia Popescu-Judetz

• Three Comparative Essays on Turkish Music / Eugenia Popescu-Judetz

• A Summary Catalogue of the Turkish Makams / Eugenia Popescu-Judetz

• Ud Exercises Building Technique / Enver Mete Aslan

• Teaching the Ney with the Meşk Method / Burcu Karadağ

Pan YayıncılıkBarbaros Bulvarı 18/4 Beşiktaş - İSTANBUL

Tel. (0212) 227 56 75 - 261 80 72Faks (0212) 227 56 74

[email protected]

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