| Popis: |
In both Persian and Turkish art-music traditions, despite their significant current differences, the musical idiom of the 15th-century Timurid court is regarded as a significant forbear. Late 15th-century theoretical literature, however, refers to regional variations across the Middle East; these were exacerbated by a lack of continuity in Safavid and Ottoman court patronage during the 16th century, resulting in loss of repertoire and eventual replacement. Yet in the late 17th century commonalities between Safavid and Ottoman art-music practices re-emerge. Although not identical, indeed partly divergent, these practices share a core of frequently used modes and rhythmic cycles and use the same structures for complex song-settings; they even have elements of vocal repertoire in common, while certain Ottoman instrumental pieces are labelled ‘Persian’. There is evidence for the maintenance in both traditions of aesthetic constants in the domains of modulatory practice and formal articulation that can be observed much earlier. |
