Content
This section contains the basic structure of all additional, referenced TEI files, such as glossaries.
Glossary for genres (beste, sarki, ...)
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<title>List of Genre Types</title>
<respStmt>
<resp>Glossary created by</resp>
<name xml:id="SG">
<persName>Sven Gronemeyer</persName>
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<respStmt>
<resp>Glossary with terms and definitions compiled by</resp>
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<persName>NN</persName>
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<publisher>Corpus Musicae Ottomanicae</publisher>
<date>2022</date>
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Licence: Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)</licence>
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<p>Based on information from the CMO Source Catalogue</p>
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<entry xml:id="beste">
<form xml:lang="ota">
<orth type="arabTranscription">Beste</orth>
<orth type="ottomanTurkish">بسته</orth>
</form>
<sense>
<sense ana="broad">
<def>Vocal music genre in Ottoman art music.</def>
</sense>
<sense ana="narrow">
<def>Bestes are a common vocal music genre in Ottoman art music. They may appear with all usûls
except for those of the <ref target="usulGlossary.xml#semai">semâî family</ref>. The most common
form of the beste is "<ref target="genreGlossary.xml#murabba">murabba</ref>" (or "murabba beste")
that consists of four hemistiches and one terennüm. This type of beste is
structured in four hânes, where each hâne is composed of one hemistich + terennüm. Hemistiches
one, two and four are performed to the melody of the "zemînhâne" [ground hâne], whereas
hemistich three is often labeled as "miyânhâne" [the middle hâne]. The miyânhâne has modulations
and may either use the same terennüm melody as the other hânes, or it may also have an own
terennüm section with a melody different to that of the zemînhâne. Although the melody of the
terennüms may be different, the text of the terennüm remains the same. However, in some cases
the end of the terennüm adopts the last syllables of the respective hemistiches which are
referred to as "kâfîye" [rhyme] and "<ref target="poeticGlossary.xml#redif">redîf</ref>".
The structural same composition of the beste is also common in semâîs.</def>
<!-- FRAGEN / ANMERKUNGEN -->
<!-- Anders als in anderen Glossaren, wo <sense> (bisher) mit @n durchnummeriert ist, weil es verschiedene
Definitionen für einen Term gibt (etwa bei den Bahir, Hezec 1, 2, etc.), habe ich mich hier für @ana
entschieden, weil hier vielleicht eine breite Definition und eine spezifische Beschreibung greifen.
Das müssten wir auch im Vergleich mit anderen Begriffen, also Genres, sehen, so dass die Definition nicht
bei allen Genres mit Gesang "Vocal music genre" lautet, sondern vielleicht kurz über andere Formalia
beschrieben und unterschieden werden kann. Grundsatz bei der Modellierung von Termini und Definitionen
ist: zwei unterschiedliche Termini können keine identische Definition haben, denn sonst bräuchte man für
dieselbe Definintion im Umkehrschluss keine zwei Termini. -->
<!-- "semai family": In der Liste der Standardtermini tauchen verschiedene Usuls mit diesem Bestandteil
auf, etwa "aksak semai", "yürük semai", etc. Macht es Sinn, das Usul-Glossar entsprechend seiner
"Familien" zu strukturieren? Also, statt separierter <entry> für jedes Semai-Usul vielleicht ein
<superEntry> für die gesamte Familie und darunter hierarchisch eingeordnet die anderen Usul? Bsp:
<superEntry xml:id="semai">
<form>
<orth>Semai Family</orth>
</form>
<entry xml:id="aksaksemai">
<form>
<orth>Aksak Semai</orth>
</form>
<sense>
<def>This semai is characterised by...</def>
</sense>
</entry>
<entry xml:id="yürüksemai">
<form>
<orth>Yürük Semai</orth>
</form>
<sense>
<def>This semai is characterised by...</def>
</sense>
</entry>
</superEntry>
Diese Art der Hierarchisierung wäre dann ähnlich wie das, was wir mit den Bahir gemacht haben, also
die Familie der "Hezec", die verschiedene Typen haben kann. Auch wenn ein Usul nicht zu einer Familie
gehört, so kann ein <entry> auch gleichberechtigt neben einem <superEntry> stehen. Achtung: Ein
<superEntry> kann kein <sense> enthalten, es ist also keine breitere Definition der Semai-Familie
an dieser Stelle möglich! Alternativ ist es aber auch kein Nachteil, <superEntry> nicht zu verwenden,
sondern einfach zwei <entry> zu verschachteln. -->
<!-- "murabba": In der Liste der Standardtermini ist "Murabba" als eigenständiges Genre aufgeführt.
Kann man die Genres auch entsprechend zu Familien zusammenfassen, ist also Murabba nur eine Variante
einer Beste? Die Modellierung wäre also analog zum obigen Beispiel. Das hätte dann auch Auswirkungen
auf den Umfang der Beschreibung, also wenn ich das richtig verstehe, würde dann die Beschreibung von
vier Hemistichien plus ein Terennüm eher dorthin passen? -->
<!-- "hemistich", "terennüm", "hane", etc.: Wäre es sinnvoll auch diese Begriffe auch noch im "Poetic
Glossary" zu definieren, wo etwa dann auch Begriffe wie "divan", "kazel", "rubai", etc. erklärt werden
sollen? Die Beschreibung könnte dann kürzer ausfallen, wie ich es oben im Beispiel für "redif" einmal
exemplarisch gemacht habe. Dann wären alle Begriffe und Definitionen gut untereinander verlinkt und
sauber getrennt, quasi ein Mini-Wiki zur osmanischen Kunstmusik. -->
<!-- Generell gefragt: Da dieses Glossar im Rahmen der Textedition entsteht, soll es nur die Genres enthalten,
die mit Gesang einhergehen, oder auch die rein instrumentalen, weil wir es ggf. auch mit dem MEI der
Musikedition verbinden können. Dann sollten wir aber die Genres mit Gesang priorisieren, erweitern können
wir immer. -->
<!-- Generell gilt für die Werte der Attribute: Auch wenn XML es nicht komplett verbietet, ist am besten nur
der ASCII-Zeichensatz zu verwenden, also etwa type="pesrev" statt type="peşrev", das könnte beim Parsen
oder bei XSLT zu Komplikationen führen. Codepage 436 ginge noch, aber da ist das "ğ" etwa nicht
enthalten. Ich lasse also maximal die Umlautzeichen neben den 26 Standardbuchstaben zu. -->
</sense>
</sense>
</entry>
<entry xml:id="pesrev">
<form xml:lang="ota">
<orth type="arabTranscription">Peşrev</orth>
<!-- ND: These are from the list of standart terms of Ottoman music. As we discussed for the poetic terms, these are also not a 'transcription' from any source. These are how we agreed to write these terms in modern Turkish. I would humbly suggest removing the markup arabTranscription.-->
<orth type="ottomanTurkish"></orth>
</form>
<sense>
<sense ana="broad">
<def>A piece of music that serves as some sort of overture.</def>
</sense>
</sense>
</entry>
</div>
</body>
</text>
</TEI>
Glossary for usul types (cenber, ...)
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<title>List of Usul Types</title>
</titleStmt>
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<ab>Compiled 2022</ab>
</publicationStmt>
<sourceDesc>
<ab>CMO Source Catalogue</ab>
</sourceDesc>
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<text>
<body>
<div>
<entry xml:id="cenber">
<form xml:lang="ota">
<orth type="arabTranscription">Çenber</orth>
<!-- ND: These are from the list of standart terms of Ottoman music. As we discussed for the poetic terms, these are also not a 'transcription' from any source. These are how we agreed to write these terms in modern Turkish. I would humbly suggest removing the markup arabTranscription.-->
<orth type="ottomanTurkish"></orth>
</form>
<sense>
<cit type="beatsignature">
<quote>24/2</quote>
</cit>
<cit type="dümtek">
<!-- Alternatives. -->
<quote>Düm Düm Tek</quote>
<quote>DDT</quote>
</cit>
<sense n="1">
<def>The beat pattern is defined by ...</def>
</sense>
</sense>
</entry>
</div>
</body>
</text>
</TEI>
Glossary for editorial terms.
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<teiHeader>
<fileDesc>
<titleStmt>
<title>List of Poetic Terms</title>
<respStmt>
<resp>Terms and definitions compiled by</resp>
<name xml:id="ND">
<persName>Neslihan Dermikol</persName>
</name>
</respStmt>
<respStmt>
<resp>Glossary created by</resp>
<name xml:id="SG">
<persName>Sven Gronemeyer</persName>
</name>
</respStmt>
</titleStmt>
<publicationStmt>
<publisher>Corpus Musicae Ottomanicae</publisher>
<date>2022</date>
<availability>
<licence target="http://creativecommons.org/licenses/by-nc-sa/4.0/deed.en">
Licence: Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)</licence>
</availability>
</publicationStmt>
<sourceDesc>
<p>Based on information from the CMO Text Edition</p>
</sourceDesc>
</fileDesc>
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<text>
<body>
<div type="glossary">
<entry xml:id="divan">
<form>
<orth>Dîvân</orth>
</form>
<sense>
<sense n="1">
<def>The term is here used to refer to the collected works of a poet. It is not an anthology, it is composed of the poems of a single poet. It is not compiled by someone else but by the poet him/herself. As it has certain requirements in terms of form and content, it takes a long time for a poet to compile a dîvân. To have a dîvân is a symbol of prestige and honor among poets.</def>
</sense>
</sense>
</entry>
<entry xml:id="mecmua">
<form>
<orth>Mecmûa</orth>
</form>
<sense>
<sense n="1">
<def>A collection of miscellaneous text excerpts, e.g. poems, lyrics, etc.; compiled by an individual, based on the taste of the owner.</def>
</sense>
</sense>
</entry>
<entry xml:id="poeticForm">
<form>Poetic Forms</form>
<entry xml:id="beyit">
<form>
<orth>Beyit</orth>
</form>
<sense>
<sense n="1">
<def><cit n="andrews1976"><quote>The beyt consists of two half-lines, is most likely the smallest unit of
poetic expression, and must be grammatically and semantically complete. [...] Thus, a beyt could be
extracted from a larger unit (c) and would be indistinguishable from a complete beyt length poem (a).
[...] there is no requirement or tradition in Western poetry necessitating that distichs or couplets-or
even stanzas in many cases-be complete self-contained units; poems made up of potentially complete
couplet-length units do not even occur by chance with any frequency. It is difficult, therefore, to
compare the beyt with any poetic sub-unit commonly used in Western poetry</quote></cit>(Andrews 1976,
132-136).</def>
</sense>
</sense>
<entry xml:id="poeticForm">
<form>Poetic Forms</form>
<entry xml:id="gazel">
<form>
<orth>Gazel</orth>
</form>
<sense>
<sense n="1">
<def><cit n="andrews1976"><quote>The gazel is a poem of from 5 to 15 beyts
[couplets] (…) The gazel is a fully developed form, in that it determines the
size, format and strategy of the poem</quote></cit> (Andrews 1976, 136).</def>
</sense>
</sense>
</entry>
<entry xml:id="kaside">
<form>
<orth>Kasîde</orth>
</form>
<sense>
<sense n="1">
<def><cit n="andrews1976"><quote>The kasîde is usually an encomiastic, a praise poem, and it is
commonly stated that the poem is called a kasîde because it has a purpose (maksad) - that
is, to praise someone in power, to praise God, to praise oneself, to gain favor or plead for a favor,
etc.</quote></cit> (Andrews 1976, 146).</def>
</sense>
</sense>
</entry>
<entry xml:id="kita">
<form>
<orth>Kıta</orth>
</form>
<sense>
<sense n="1">
<def>Kıta (piece) is a poetic form in Ottoman literature. It consists of two couplets. The poet generally
does not use his/her pen name in kıta. In kıta, there is <cit n="dilcin2019"><q>a thematic unity
and the lines complete each other semantically, a feature which is not observed
in <ref target="#gazel">gazels</ref> for instance</q></cit> (Dilçin 2019, 202). Walter G. Andrews
defines kıta as <cit n="andrews1976"><quote>one of the least-studied and least-understood forms in Ottoman poetry</quote></cit> (1976, 170).</def>
</sense>
</sense>
</entry>
<entry xml:id="müstezad">
<form>
<orth>Müstezâd</orth>
</form>
<sense>
<sense n="1">
<def>It is <cit n="andrews1976"><quote>a compound form created by adding a
short line with the rhythmic pattern >mefʿūlü feʿūlün to each
mısraʿ of a gazel having the rhythm [mefʿūlü mefāʿīlü faʿūlün]
</quote></cit> (Andrews 1976, 170).</def>
</sense>
</sense>
</entry>
<entry xml:id="rubai">
<form>
<orth>Rubâî</orth>
</form>
<sense>
<sense n="1">
<!-- Maybe the glossary can be enhanced with additional terms? Here, reference is made to a beyt, which
isn't defined otherwise, although coming from an Ottoman context. Apart from that, I have no idea what
a quatrain is, but that's certainly beyond the scope of this glossary. -->
<!-- ND: It is explained right after the comma, 'a poem of four lines or two beyt'.-->
<def>It <cit n="andrews1976"><quote>is a quatrain, a poem of four lines or two beyts which rhyme on the
basic monorhyme pattern. […] It is generally thought by modern scholars to be of pre-Islamic Persian
origin </quote></cit> (Andrews 1976, 167).</def>
</sense>
</sense>
</entry>
</entry>
<entry xml:id="poeticGenre">
<form>Poetic Genres</form>
<entry xml:id="medhiye">
<form>
<orth>Medhiye</orth>
</form>
<sense>
<sense n="1">
<def>It is a poem written to praise either a living sultan, statesman etc. or prophet, caliphs etc. It is written in <ref target="#kaside">kasîde</ref> form.</def>
</sense>
</sense>
</entry>
<entry xml:id="mersiye">
<form>
<orth>Mersiye</orth>
</form>
<sense>
<sense n="1">
<def>It is a poem to express sorrow or lamentation for one who is dead. It is generally written in
terkîb-i bend form. However, there are rare mersiye samples in Ottoman poetry, which are in tercî-i bend
form. Both are stanza forms in Ottoman poetry and more information can be found in <cit n="andrews1976">
</cit>Andrews 1976, 162-163.</def>
</sense>
</sense>
</entry>
<entry xml:id="naatiserif">
<form>
<orth>Naat-ı şerîf</orth>
</form>
<sense>
<sense n="1">
<def>It is a <ref target="#kaside">kasîde</ref> written in honor or praise of the Prophet.</def>
</sense>
</sense>
</entry>
<entry xml:id="nazire">
<form>
<orth>Nazîre</orth>
</form>
<sense>
<sense n="1">
<def>It is a poem written to resemble another poem in form and subject; an imitative piece of poetry</def>
</sense>
</sense>
</entry>
</entry>
</div>
<div type="bibliography">
<bibl corresp="#andrews1976">Andrews, Walter G. 1976. An Introduction to Ottoman Poetry.
Minneapolis and Chicago: Bibliotheca Islamica.</bibl>
<bibl corresp="#dilcin2019">Dilçin, Cem, Dil ve Tarih Yüksek Kurumu Atatürk Kültür, and
Türk Dil Kurumu. 2019. Örneklerle Türk şiir bilgisi. Ankara: Türk Dil Kurumu.</bibl>
</div>
</body>
</text>
</TEI>