Üsküdar'a Gider İken

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Üsküdar'a Gider İken (“On the way to Üsküdar”), also known as Kâtibim , is a popular Turkish vocal song, the melody of which is widespread beyond Turkey in many countries, especially in the Balkans.

history

The fall of the tune of Üsküdar'a Gider İken , which is sung in the languages ​​of the entire Balkan region and claimed for itself by the respective communities, drew the attention of various music-ethnological and other specialist authors such as Raina Katsarova (1973), Adela Peeva (2003), Dorit Klebe (2004) or Donna Buchanan (2008).

Üsküdar'a Gider İken is known as an urban song from Istanbul and has passed through various stations in its over 100-year history. From the end of the 19th century to the beginning of the 21st century, it covered an “unprecedented migration” (Buchanan 2007) through the entire Balkan region and various diaspora communities. Although its history is not fully documented, some significant changes and processes of change have been demonstrated on the basis of sound and written documents. The ethnomusicologist Klebe named the different performance contexts as well as social and sociocultural developments as influencing factors for the changes in text, music and formal design.

Istanbul in the 19th century is seen as a possible point of origin of the song . The song spread over the geographical area of ​​its early documentation to other provinces of the Ottoman Empire - such as Greece and the Balkan Peninsula - and also reached Eastern Europe . In addition, the melody spread to the US entertainment industry in the 20th century .

Earliest documentaries

The earliest traceable sound recording is a vocal solo phonograph roll recording in the Berlin Phonogram Archive from 1902, which the ethnologist , archaeologist and doctor Felix von Luschan made during his last excavation campaign in Sendschirli (spelling after von Luschan, 1904; today Zincirli ) in the Aintab district (today Gaziantep in Turkey ) of the Ottoman administrative district Haleb (today Aleppo in Syria ), despite a lack of experience, as a pioneering scientific achievement. This recording from the Luschan collection was sung in Turkish by a 12-year-old Armenian petty grocer named Avedis. The drum recordings by Luschans, the centerpiece of which was the songs of the boy Avedis, are among the rare non-commercial testimonies to the vocal genres manî (special genre of folk literature for sung performance), turkı (another genre of folk literature or music) and şarkı (Ottoman -turkish vocal genre of court art music) as well as their mixed forms.

At the beginning of the 20th century, Aintab, on the road from Haleb to Armenia, was an important military point and trading center and had 20,000 inhabitants, equal parts Armenian and Greek Christians, Kurds and Muslims. As a source for the repertoire of the young interpreter Avedis, in addition to the usual family sources of information, professional lecture situations are also considered. Aintab and Aleppo were traditionally musical centers in the Ottoman Empire. In the Ottoman Empire, and especially at the Sultan's court, it was not uncommon for artists from ethnic minorities - in addition to the Armenian, especially Greek and Jewish musicians - to carry out cultural activities in a performing and developing manner in certain areas of art music.

Von Luschan gave his Turkish texts to the Albanian scholar Hacki Tewfik Beg, who was living in Berlin at the time, to correct spelling mistakes. In 1904 von Luschan published the editing and translation of the text by Üsküdar'a Gider İken , which he provided with footnotes and which, with the help of Hacki Tewfik Beg and others , had been added to the version named by Luschan Stambulian .

Ask about the original melody

The dotted notes at the beginning of almost every musical form, as well as leaps in intervals, such as the upward fifth at the beginning of the song, speak for a possibly non-Turkish origin of the melody .

Characteristic melodies of Turkish folk music, such as the frequency of small intervals (e.g. second step ) and sound changes, speak for a Turkish origin . The preferred syllabic text distribution - apart from a few melismatic play- arounds - is characteristic of the kırık hava as one of the two main types of songs in Turkish folk music. In addition, the melodic structure contains elements that correspond to the modal concept and tonal system of the makam used in large parts of the Islamic-Arabic-Persian region and also in Ottoman-Turkish court music .

Ottoman march

According to one theory, Üsküdar'a Gider İken is said to have served as an Ottoman Janissary marching song for either the Ottoman conquest of Constantinople (1453) or the Russian siege of the Bulgarian city of Pleven (1877) in the Russo-Ottoman War (1877-1878) , the led to the emancipation of Bulgaria from Ottoman rule. In both contexts, the first line of the song “On the way to Üsküdar” is interpreted as a symbolization of the soldiers marching home to the Ottoman capital. The Ottoman Üsküdar was a city of some importance, served as the seat of military operations, and was the terminus of caravans emanating from Syria and Asia.

Ottoman şarkı

Another theory assumes that Üsküdar'a Gider İken has its origins in an Ottoman şarkı , a popular, semi-classical, strophic, makam-based Ottoman song genre of urban origin. The song's broad pitch , pitch movement, four-line verse structure (taking into account the repetitions) and the modal construction in makam Nihavent mark it as possibly connected with the Ottoman courtly tradition, while its narrative, which describes the singer's love for a kâtip , refers to the Ottoman system of professional guilds. As further evidence that Üsküdar'a Gider İken was circulating as şarkı , his performance under the title “Sharky Negavend: Lyubovnaya” (German: “Şarkı Nihavent: love song”) can be found in the compendium “Опыты художесты художесты художествененано пробоыбихренананой пробоыбинренан 1 "(Eng. About:" Experiments of artistic arrangements of folk songs, Volume 1 "), which 1913 in Moscow under the direction of the composer Alexander Gretschaninow of the music-ethnological commission of the ethnographic department of the imperial society of amateur naturalists, anthropologists and ethnographers at the imperial university in Moscow was published.

With the decline of court patronage for Ottoman art music in the late 19th century, şarkı performance shifted to Turkish-owned urban coffee houses (kafehane) and European-style nightclubs or casinos (gazino) owned by Greek, where the şarkı genre played a musical bridging function between the larger population of the large urban centers and the Ottoman court. These establishments were also the stage for professional oriental dancers called çengi , who were often Jewish, Romnija or members of other minorities and who worked as entertainers and sometimes as prostitutes . Such entertainers were employed by the Ottoman nobility until around 1840, when new laws prohibited their presence at court and led them to seek employment in commercial establishments.

Türkü

Urbanized performances by Türkü , performed alongside şarkı in these type of entertainment venues, played a role similar to the şarkı and found popularity among large segments of the population, and Turkish scholars suggest that Üsküdar'a Gider İken may be more representative of this category . On the one hand, şarkı texts were usually written by great poets according to specific Persian- Arabic poetic conventions and set to music by well-known composers who strived for melodies that enhanced every line of text. In contrast, the author and composer of Üsküdar'a Gider İken were unknown and its melodic structure was less carefully worked out. On the other hand, according to the ethnomusicologist and expert on Turkish music, Sonia Seeman, Turkish musicologist Üsküdar'a Gider İken identified as an urban song that they connected with the Tanzimat reforms of the 19th century, which referred to the modernization of the Ottoman Empire , rather than any nostalgia associated with its decline. Accordingly, the lyrics portrayed a kâtib wearing a western-style business suit , and this image of a kâtib appealed to the public's imagination and possibly represented, in a metaphorical sense, Turkey's ongoing transition process in secularization and the associated change in gender norms.

Influence of western operetta

Another theory suggests that performances of Western opera in the late Ottoman period formed the origin of Üsküdar'a Gider İken or spread it widely. The melody of the song is said to play a role in the operetta Leblébidji Hor-Hor Agha , which Dikran Tschuchadschjan wrote as one of several Armenian composers from the late phase of the Ottoman Empire around 1880. Although it is considered unlikely that Tschuchadschjan wrote the melody by Üsküdar'a Gider İken , which was probably already circulating before 1880, the operetta is said to have increased the popularity of the melody on the coast of Asia Minor.

Scottish March

According to a literary source, the melody is said to be an adaptation of a Scottish melody that is said to have served as a school anthem in an English school in Constantinople. However, since an original source of the notation is missing, it is not possible to check the information. On the website sevdalinke.com published by Semir Vranić, based on the results of the ethnographer Šefčet Plana (1979; alternative spellings: Shefqet Pllana, Šefćet Plana / Шефћет Плана), the assumption of Miroslava Fulanović-Šošić (1998) was quoted that it was too this adaptation came after a Scottish military band brought a Scottish melody to Constantinople. During the Crimean War from 1853 to 1856 between the Ottoman Empire and Russia , during which "Turkey" had received help from " England ", France and Sardinia , a division of Scottish soldiers was also housed in the military barracks in Istanbul. With their unusual uniforms and their bagpipes- accompanied military march music on the streets, these drew the attention of the citizens. This marching tune soon became the tune of a Turkish folk song

Spread of the melody

Turkey:

In Turkey the song is known as “Kâtibim” or “Üsküdar'a gider iken”. Probably the most famous recordings come from Safiye Ayla (1907–1998) and Zeki Müren (1931–1996). Zeki Müren also appeared as an actor in the film "Kâtip (Üsküdar'a Giderken)" from 1968, directed by Sadık Şendil , in which the song plays an important role and which became very popular in Turkey and the Turkish diaspora. According to information on a Turkish website, the tune "Üsküdar'a Gider İken" is said to have become popular with small table clocks that were imported from Scotland into the Ottoman Empire. The clock has become a great success under the name Kâtibim Türkülü Saat (Kâtibim music box) and is still the reason why the song is known in large parts of Turkey.

Rest of Southeast Europe :

  • Albania : After the collapse of the real socialist systems in the Balkans in the 1990s, the song belonged to the repertoire of Roma musicians in Albania, for example, according to the observation of Ursula Reinhard, who was active in musicology in 1993 , who tried to revive it in the traditional Turkish way.
  • Bosnia and Herzegovina : In Bosnia and Herzegovina the melody exists both in the form of the traditional love song ( sevdah / sevdalinka ) “Pogledaj me Anadolko” and in the form of the religious kasida “Zašto suza u mom oku”.
Memorial stone in Sozopol for the activist of the Bulgarian Macedonian-Adrianople Revolutionary Committee and leader of the Ilinden Uprising , Яни Попов (Jani Popov), as the author of the marching song "Ясен месец". The beginning of the song is affixed to the memorial stone: "Ясен месец веч изгрява над зелената гора ..." ("A clear moon is already rising over the green forest ...")
  • Bulgaria : In Bulgaria the melody comes in the form of a love song ("Церни очи имаш либе"; transliterated: "Cerni oči imaš libe") and as a hymn of the resistance against the Ottoman Empire in the Strandscha Mountains ("Ясин месец"; transliteriert веч : "Jasen mesec več izgrjava").
  • Greece : In Greece the melody is known under different names like "Apo tin Athina" or "Apo xeno topo" or "Eskoutari". One of the most famous Greek interpreters of the song is Glykeria (Glykeria Kotsoula) , which is also popular in Israel .
  • Macedonia : A more recent performance of the Macedonian version of the song ("Ој Девојче, Девојче") comes from the musician Тоше Проески (Toše Proeski), who was also a UNICEF ambassador, who was apostrophized by the British BBC as "Elvis Presley of the Balkans" whose early accident death was mourned with a state funeral and funeral meetings in many places in the Balkans and in the diaspora.
  • Serbia / Yugoslavia : A Serbian version of the melody ("Русе косе, цуро, имаш"; transliterated: "Ruse kose, curo, imaš", German: "You have blond hair, girl") appeared in the popular Yugoslav film "Ciganka" ( "Циганка"; German: "Gypsy") in the 1950s, which is about the legendary Romni Koštana (Коштана), who is said to have lived in the Vranje region at the beginning of the 20th century .

Central Europe :

  • Germany : A very early publication for Central Europe took place from around 1960 through the second volume of the series of the UNESCO Commission European Songs in the Original Languages, whose song notation for “Üsküdara gideriken” goes back to a written source from 1952. It shows striking similarities with and only very few deviations from the version sung by Safiye Ayla in 1949. In connection with the UNESCO publication, the singing movement Die Klingende Brücke, founded by Josef Gregor in Essen in 1949, is important, as it cultivates and promotes getting to know, understand and sing the folk songs of Europe in the original languages. It is believed that the song Üsküdara gideriken, in connection with its appearance in the UNESCO series, was also included in the repertoire of the singing movement. It also found its way into music education in Germany , possibly as a result , especially in the 1980s. In some cases, the original Turkish lyrics have been replaced by texts in German that differ greatly from them. It has also been found in Austrian school songbooks, while, according to Klebe, it did not appear in school songbooks in Turkey for decades.
Among other things, the popular, well-known and popular song Üsküdar'a Gider İken, which was already widespread in Turkey at that time, came to Germany with migrants from Turkey since the recruitment agreement between the Federal Republic of Germany and the Republic of Turkey in 1961 . In Turkey, as in the Diaspora , it was played particularly often at wedding or circumcision celebrations as dance music, today mostly only in a purely instrumental version as accompanying music to the çiftetelli dance (hip dance with sometimes belly dance- like movements, especially danced in the cities in Turkey).
The first sequence of the melody was also used in the disco song " Rasputin ", written by Frank Farian and sung by Boney M. , which in turn was taken up in cover versions by other groups such as the Croatian group Vatrogasci or the Finnish Viking metal band Turisas . While Eartha Kitt had spoken the sentence “Oh, those Turks!” At the end of her version “Uska Dara - A Turkish Tale / Two Lovers”, the “Rasputin sung by Boney M.” ended "Version of Frank Farian with the words" Oh, those Russians! "(German:" Oh, these Russians! ").

Sephardic spread :

  • The melody is often referred to as Sephardic, such as by the Spanish band Mediterranea ("Uskudara"). The leading Italian klezmer group KlezRoym recorded the song in Jewish Spanish ("Fel Shara"). The German band Di Grine Kuzine also released a more recent Klezmer interpretation ("Terk in America").

Arab area :

  • An Arabic version of the song ("Banat Iskandaria") was recorded by the Lebanese Mohammed El-Bakkar , who died in the United States in 1959.

North America :

Other regions:

Another version of the melody is known from Afghanistan , which was sung by the Uzbek singer Taaj Mohammad.

Details of significant interpretations

  • 1924: Naftule Brandwein , "Der Terk in America". In a purely instrumental version played Klezmer - clarinet player , who played solely by ear, Üsküdara gideriken one in New York. Perhaps this song melody was already part of his repertoire that he had acquired in Eastern Europe. He kept it even after his immigration from Galicia to America, because many Jewish musicians also played for a non-Jewish audience from immigrant communities of various origins, which were recruited from Greeks, Poles, Russians, Hungarians, Ukrainians, Gypsies, Italians and Turks, among others. In his version, accompanied by an instrumental ensemble in a slightly harmonized way, Brandwein used the first two musical form parts as they exist from the version of the Avedis, with variants and omitted the refrain part that occurs in Avedis. It is replaced by two other molded parts that combine the two molded parts known from the version of the Avedis as well as their varied repetitions as an interlude or episode.
  • 1949: Safiye Ayla , “Kâtibim”. In the vocal instrumental version recorded in Istanbul on the Columbia label , Safiye Ayla Targan, who was a member of the ensemble at the Istanbul City Conservatory at the time of recording, is accompanied by an instrumental ensemble in a heterophonic style . The booklet of the CD indicates the musical genre “urban turku” and names the accompanying instruments keman (European violin tuned in fourths ), kanûn (trapeze zither), ud ( buckle-necked lute without frets) and Klarnet (European clarinet in G, mostly Albert system ). In addition, percussion instruments with a rhythmic pattern can be heard in the purely instrumental passages. The republic of Turkey, which was founded after the dissolution of the Ottoman Empire in 1923, initially oriented its musical culture mainly on European, "Western" models, which often led to a break in the oral tradition of folk and, in some cases, art music, while in writing recorded works could later be reconstructed. The invention and spread of the record as an analogue sound carrier had an impact on the musical life of the new republic, as music labels such as Columbia or His Master's Voice produced numerous records in the 1930s and 1940s and helped some performers such as Safiye Ayla, the 500 titles - mostly vocal genres of art music as well as some urban songs and folk songs - recorded, to a high level of awareness and popularity.
  • 1953: Eartha Kitt , "Uska Dara - A Turkish Tale / Two Lovers". The version of the internationally known vocal star Eartha Kitt, which was released in the USA and accompanied by an instrumental ensemble, could be based on the interpretation of Safiye Ayla. The lecture, especially the harder lecture style, the pronunciation of Turkish and the inserted narrative texts, were also taken as an opportunity to speculate about an origin from other traditional sources. It is not a pure song interpretation, but a combination version of song and narrative text. The instrumental accompaniment shows a high degree of independence and no affinity for the ensemble's interpretation of Safiye Ayla's version. Regarding a possible source of transmission in the USA, it was considered that after the dissolution of the Ottoman Empire, parts of the Turkish population as well as members of ethnic minorities, mainly Armenian and Greek Christians and Jews, had left the country under the pressure of the Young Turks and many of them emigrated to the USA. A specific immigrant culture of their own developed there and a notable number of emigrated artists were contracted by US record companies and produced country-specific music for migrants from the former Ottoman Empire who also lived in the diaspora. It is also possible that Eartha Kitt came into contact with Turkish music culture through emigrants of Turkish, Greek, Armenian, Jewish or other ethnic groups from the Ottoman Empire in New York , where, for example, 8th Avenue had become the center for Armenian music with live performances.

Notes and text

Katibim.svg

Content and change of the Turkish lyrics

The lyrics of the Turkish text versions contain a number of metaphors and symbols, the meaning of which is derived from Turkish culture. A self-confident widow from the circle of courtly society, who could be a freed slave who has become wealthy through marriage, travels across the Bosporus to Skutari / Üsküdar . This part of the city, located on the Asia Minor side of the Bosporus, could only be reached by ferry at the time. The lady finds a handkerchief and fills it with the dessert Lokum , which symbolizes the wish for a happy relationship and happiness in the future. In Üsküdar she meets her lover, a kâtip (Arabic: scribe, ie "the writer"), which in the Ottoman Empire was a secretary or bureaucrat from the lower upper class of civil servants. The lady returns from Üsküdar with “her” kâtip to Istanbul and proudly praises her lover, his appearance and his clothes, while ignoring the talk of the people. She would like to take him for a walk in a carriage and be accompanied by musicians.

Textual changes are particularly noticeable in the documented versions from 1902 (provincial version from Aleppo) and 1903/1904 ("Stambulian version" sensu from Luschan from Istanbul), which are probably still based on oral tradition and only slightly in time, but geographically around 1200 km apart, so that an older version may have been preserved in the Ottoman province than in the metropolis of Istanbul. The changes concern, on the one hand, the description of the external appearance of the secretary and, on the other hand, the addition of a line of verse to each of the two stanzas in the “Stambulian version”. A major change was that the three-line refrain text of the provincial version and the “Stambul version” were omitted from the beginning of the 20th century until a recording from Istanbul from 1949 and only a core text remained, which consisted of the text stock of verse texts 1 and 2. In addition, during the first half of the 20th century, individual double verses were interchanged and the content was changed. Over a longer period of time, this core text remained unchanged, which may be due to the written fixation of the song text, which became the basis for a number of the following versions. More recently, the two-stanza core text has been reduced to a stanza unit, which could be due to the fact that the song continues to be passed down primarily in a purely instrumental version.

Nature and change of the overall form

In terms of the formal structure, the lyrics can be divided into verses and choruses. The seven-line text of the Avedis original (provincial version) from 1902 consists of stanzas with two double verses each. This is followed by three lines of refrain.

Rhyme structure (provincial version from 1902):
1st stanza: a / a / b / b / R (c) / R (c) / R (c) //
2nd stanza: d / d / b / b / R (c ) / R (c) / R (c) //

This division of verse and refrain is shifted in the edited version (Stambuler version) , in which Hacki Tewfik Beg added a further line with the same ending rhyme (a and d) in both the first and second stanzas, so that from a five-line Verse text and a three-line refrain can be assumed.

Rhyme structure ( Stambulian version from 1903/1904):
1st stanza: a / a / [a] / b / b / R (c) / R (c) / R (c)
2nd stanza: d / [d] / d / b / b / R (c) / R (c) / R (c)

Since the highly variable text structure form in both versions corresponds neither to a genre of folk nor court poetry in its pure form, a mixed form is assumed that is most likely to be influenced by the genre and poem type Turkish , which is often found in folk literature . The number of syllables per line, which is rather untypical for simple folk poetry, however, refers to influences from court poetry, so that overall one can speak of an urban hybrid of folk and court literature.

The change in the overall shape consists in reducing it to two musical forms by eliminating two more and has an impact on the musical design principle of makam . On the one hand, the metamorphoses of makam change the modal concept of the song melody in the original version from a basic form of the tone scale to a trunk scale. On the other hand, they also testify to changes in the makam representation, as the connection to the context of courtly art music and thus also the rules of execution are abandoned and other areas of music - and thus other sound systems - flow into the newly emerging mixed forms. A text / melody core consisting of two parts has been preserved, to which textless, purely instrumental parts can be connected. The purely instrumental version is increasingly preferred.

Literature and documentation

  • Felix von Luschan (1904): Some Turkish folk songs from Northern Syria and the importance of phonographic recordings for ethnology . In: Journal of Ethnology, Vol. 36 , Issue 2 (1904) Berlin, pp. 177–202.
  • Otto Abraham and Erich Moritz von Hornbostel (1904): Phonographed Turkish melodies . In: Journal for Ethnology, Vol. 36 , Issue 2 (1904) Berlin, pp. 203-221.
  • Райна Кацарова (Raina Katsarova) (1973): Балкански варианти на две турски песни (Balkanski varianti na dve turski pesni) [German: Balkan variants of two Turkish songs]. In: Известия на института за музикознание (Izvestiya na Instituta za Muzikoznanie), Sofia, 16 (1973); Pp. 115-133.
  • Šefčet Plana (1979): Metamorfoza jedne pesme . Radio Pristina, program: “Nedelje Radia 79”, Ohrid, 1979.
  • Miroslava Fulanović-Šošić (1998): Folklorizirane pjesme u muzičkoj praksi bosansko-hercegovačkih naroda . In: Muzika , Vol. II , No. 1 (5), (1998), pp. 12-23, URL: http://sevdalinke.blogspot.com/2007/10/miroslava-fulanovi-oi-folklorizirane.html .
  • Adela Peeva (Адела Пеева) (2003): Chia e tazi pesen (Whose is this song)? (Чия е тази песен?) , Albania / Bosnia and Herzegovina / Bulgaria / FYROM Macedonia / Greece / Serbia / Turkey, 2003, 70-minute video documentation (various languages ​​with English subtitles).
The Bulgarian filmmaker Adela Peeva directed the documentary "Чия е тази песен?" (Who owns the song?), Which resulted from a project she started in the late 1990s, traces of the melody of Üsküdara gider iken in the region track. The documentary received numerous international awards.
  • Dorit Klebe (2004): The survival of an Ottoman-Turkish urban love song since an early documentation from 1902. Metamorphoses of a makam . In: Marianne Bröcker (ed.): The 20th century in the mirror of his songs . In: Schriften der Universitätsbibliothek Bamberg, Volume 12 (2004), S: 85–116.
  • Fanya Palikruschewa-de Stella (2004): A song for everyone. Variants of a song in six Balkan countries . Institute for Folk Music Research and Ethnomusicology at the University of Music and Performing Arts Vienna, 2004 (unpublished thesis).
  • Martha Hammerer (2006): Üsküdara gider iken in the adaptation of Sabri Tuluğ Tırpan . In: Ursula Hemetek (Ed.): The other hymn. Minority votes from Austria. A project by the Minorities Initiative published by the Austrian Dialect Authors Publishers , Vienna, 2006, pp. 89–103.
  • Donna A. Buchanan (2007): 'Oh, Those Turks!' Music, Politics, and Interculturality in the Balkans and Beyond . In: Donna A. Buchanan (Ed.): Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse , Scarecrow Press, Lanham, MD (2007), 3–54.

Web links

  • 1953: Eartha Kitt, Uska Dara - A Turkish Tale / Two Lovers on YouTube
  • 2009: Loreena McKennitt, Sacred Shabbat (album: A Mediterranean Odyssey) on YouTube
  • 2003: Adela Peeva, Whose is this Song homepage and documentary
  • 2013: Coke Studio Pakistan: Ishq Kinara on YouTube
  • Glykeria, U Apo Xeno Topo on YouTube
  • Japanese version on YouTube
  • Reni, Da Se Razdelim on YouTube (ReniOfficialMusic channel)
  • Malay version of Suria (“The Sun”) on YouTube in the comedy drama film “Ahmad Albab” by P. Ramlee

credentials

  1. ↑ Svanibor Pettan: The alaturka-Alafranga Continuum in the Balkans: Ethnomusicological Perspectives. In: Božidar Jezernik: Imagining 'the Turk', Cambridge Scholars, Newcastle upon Tyne, 2010, ISBN 978-1-443-81663-2 (print edition), pp. 179–194; here p. 183.
  2. ↑ Svanibor Pettan: Balkans Boundaries and How to Cross Them: A Postlude. In: Donna A. Buchanan (Ed.): Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse, Scarecrow Press, Lanham, MD (2007), pp. 365-384.
  3. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Dorit Klebe (2004): The survival of an Ottoman-Turkish urban love song since an early documentation from 1902. Metamorphoses a makam . In: Marianne Bröcker (ed.): The 20th century in the mirror of his songs . Writings of the Bamberg University Library, Volume 12, S: 85-116.
  4. ↑ Donna A. Buchanan: Preface and Acknowledgments . In: Donna A. Buchanan (ed.): Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse , Scarecrow Press, Lanham, MD (2007), pp. XXVII-XXVIII.
  5. ↑ a b c The story of a song ( Memento from December 8, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 ( Project), Reinhard Eckert (contact), archived from the original ( memento of the original from December 8, 2015 on WebCite ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on December 8, 2015. @1@ 2Template: Webachiv / IABot / www.everybodys-song.net
  6. ↑ Friedrich Giese (Ed.), Materials for Knowledge of Anatolian Turkish - Part 1 - Stories and songs from the Vilajet Qonjah - Collected, edited in transcription, with annotations and a translation of the songs , pp. 1–126, in: I. Kúnos & Fr. Giese (Eds.), Contributions to the study of the Turkish language and literature, 1 , Haupt, Halle a. S. & New York 1907, 126 p., Here p. 10f.
  7. ↑ Hubert Szemethy, Peter Ruggendorfer & Bettina Kratzmüller (conception April 2005): Felix von Luschan. (* 1854 Hollabrunn - 1924 Berlin) Doctor, anthropologist, explorer and excavator ( Memento from December 8, 2015 on WebCite ) , exhibition and symposium on his life and work, Hollabrunn, May 22 - 30, 2005, accessed on August 14 2011 from URL archived copy ( memento of the original from November 28, 2012 in the web archive archive.today ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / klass-archaeologie.univie.ac.at
  8. ↑ Kurt Reinhard & Ursula Reinhard, Music of Turkey , 2 (Die Volksmusik) , Heinrichhofen's Verlag, Wilhelmshaven et al. 1984, pp. 1-180, ISBN 3-7959-0426-9 , in: Richard Schaal (Ed.), Taschenbücher zur Musikwissenschaft , 96 , International Institute for Comparative Music Studies Berlin (Ed .: Ivan Vandor), Heinrichshofen's Verlag, Wilhelmshaven, p. 18
  9. ↑ a b c d e f Donna A. Buchanan (2007): 'Oh, Those Turks!' Music, Politics, and Interculturality in the Balkans and Beyond . In: Donna A. Buchanan (Ed.): Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse , Scarecrow Press, Lanham, MD (2007), 3-54.
  10. ↑ Robert Elsie: Pllana, Shefqet (1930.02.18-1994.01.04) , in: Historical dictionary of Kosova , Historical Dictionaries of Europe, 44 , The Scarecrow Press, Lanham / Maryland, Toronto, Oxford, 2004, p 138f. ISBN 0-8108-5309-4 .
  11. ↑ References ( Memento from December 15, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 (project), Reinhard Eckert (contact ), archived from the original on December 15, 2015.
  12. ↑ Miroslava Fulanović-Šošić (1998): Folklorizirane pjesme u muzičkoj praksi bosansko-hercegovačkih naroda . In: Muzika , Vol. II , No. 1 (5), (1998), pp. 12-23, here: p. 13, cf. Miroslava Fulanović-Šošić: Folklorizirane pjesme u muzičkoj praksi bosanskohercegovačkih naroda. Muzika / Music /, god. II, br. 1 (5), 1998 , digital archive on sevdalinke.com, October 28, 2007. Literal quote: “Istraživanja Dr. Šefčeta Plane su pokazala da je melodija pjesme "Ruse kose curo imaš, žališli ih ti?", Nastala na bazi jednog škotskog vojnog marša. Poznat je i put kojim je marš prešao u pjesmu, a kasnije iu druge muzičke oblike. Evo kako je do toga došlo. Za vrijeme Krimskog rata (1853 - 1856. g.) Između Rusije i Turske, Turskoj su došle u pomoć Engleska, Francuska i Sardinija. Tako je u kasarni u Istambulu bio smješten jedan odred škotske vojske. Pažnju građana privlačio je marš koji su često slušali u izvođenju gajdaša, dok su škotski vojnici marširali istambulskim ulicama. Ubrzo je dopadljiva melodija tog marša dobila poetski sadržaj - naime, narod je počeo uz tu melodiju da pjeva tekst jedne turski pjesme. "
  13. ↑ a b c d Mediterranean region ( Memento from December 10, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 (project) , Reinhard Eckert (contact), archived from the original on December 10, 2015.
  14. ↑ Katibim Türküsü ve Donsuz Asker Alayı . Kocaeli Aydınlar Ocağı, January 10, 2012, from İ. Yüksel Başer.
  15. ↑ a b c d e South Eastern Europe ( Memento from December 10, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 ( Project), Reinhard Eckert (contact), archived from the original on December 10, 2015.
  16. ↑ a b Central and Northern Europe ( Memento from December 10, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 (project) , Reinhard Eckert (contact), archived from the original on December 10, 2015.
  17. ↑ North America ( Memento from December 10, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 (project), Reinhard Eckert ( Contact), archived from the original on December 10, 2015.
  18. ↑ Central Asia ( Memento from December 10, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 (project), Reinhard Eckert ( Contact), archived from the original on December 10, 2015.
  19. ↑ Jane C. Sugarman: Whose Song Is This? (Chiya a tazi pesen?) (Review). In: Ethnomusicology, 52 , (1), (Winter 2008), pp. 151-154; JSTOR 20174579 .
  20. ↑ The film "Whose is this song?" ( Memento from December 10, 2015 on WebCite ) , in: Everybody's Song - Music as a tool for the promotion of diversity and intercultural understanding , Cyprus Neuroscience and Technology Institute, Nicosia, 2006-2008 (project), Reinhard Eckert (contact), Archived from the original on December 10, 2015.