Abstract:

The Ottoman State has been in cultural interaction since the sixteenth century with the aim of developing trade and diplomatic relations with its European countries. The interest and curiosity to Western music as part of this cultural relationship between the Ottoman State and the European countries is important in terms of the setting of the foundations of many institutions in the future. The first encounter with Western music in the Ottoman territory begins in the sixteenth century during the period of the Sultan of Solomon. Then the III. by Murad III. by Mahmoud IV. by Murad, IV. by Mehmed III. Ahmed, I. Mahmud and III. by Mustafa III. by Selim, II. Mahmud, Abdülmecit, V. Murad, II. Abdülhamid, Mehmed Reşad, and Mehmed Vahdeddin are present in historical research with Western music, interest and curiosity. During this time, many western plays entered the Ottoman territory in various ways. In the sixteenth century, the flut found its great place in the European music culture, and it is one of these plays. In this study in the eighteenth century the findings about the place and importance of flut play in the process of the Ottoman period of westernization were discussed in the historical framework. At the beginning of the eighteenth century, the visit to Istanbul by the French flutter Buffardin, which was seen as the first traces of flutter in the Ottoman period, II. In the time of Mahmud, the Italian flutch and band chief Giuseppe Donizetti, brought to the head of Music-i Hümayun, has been investigated the contributions to the flutch training and execution of Saffet Atabinen, the first Turkish flutch virtuous and orchestra chief. In the Ottoman period and in the early years of the Republic, as a result of the traces seen in these territories, the adoption in the Turkish conservatories and orchestras, the training and execution activities have been investigated by the general scan method; the work situation has been carried out in the visual model based on the detection.

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