WOMEN MUSICIAN THAT COMPOSE IN WESTERN FORMS IN OTTOMAN COURT IN THE 19TH CENTURY

The process of westernization that started with the reforms of Emperor Mahmut the 2nd (1808-1839) in the 19th Century, portrayed itself with new developments in music as well and a lot of musicians and composers were raised in the palace as a result of the education given by the European musicians appointed by the court. The emperors who were trained in the area of Western music and composed likely gave importance to the training of their wives, daughters and their harem in the same way. The entrance of the western instruments to the palace and the use of piano in performing also coincides to this period. The women in the court formed orchestras, gave music lessons, concerts and composed music. In this study the musical identities of the women musicians is investigated and the effects of the western music is analysed in their compositions. The methods used in are bibliographical research, the analysis of the types of compositions and the sound recordings. To sum up, although marches are the most favoured types of composition, waltzes and gallops were preferred too. These works, which are composed of simple and small forms, are original works written for solo piano. In addition to the effects of Western music, there are also good examples of Ottoman-Western music synthesis

Keywords

WOMEN MUSICIAN THAT COMPOSE IN WESTERN FORMS IN OTTOMAN COURT IN THE 19TH CENTURY