Özet:

The makam theory, which has been transmitted for nearly 5,000 years in Anatolian culture through the periods of Ancient Greek, Roman, and Byzantine Empires, Medieval Islam, the Ottoman Empire, and the Turkish Republic, presents an efficient cultural base on which sociocultural changes can be traced. In this regard, the works of Greek Orthodox theorists, who played a dominant role in the transmission of Ottoman music theory, especially after the 17th century, establish a powerful database for research on such topics as multi-culturalism in Ottoman music, the effect of Byzantine Music theory on Ottoman music, and the reflections of national identities in music. To be able to derive conclusions on these topics, the scope of this paper concentrates on a comparative survey of works of three Greek Orthodox theorists, namely Halaçoğlu, Marmarinos, and Kiltzanidis from the 18th and 19th centuries, and the works of other prominent theorists of the Ottoman music scene, such as Cantemir and Nâsır Abdülbâkî Dede. The comparative analysis provides a scope to better understand how the music related to the social life of the Ottoman Empire at the time, and how the aesthetic and social changes were reflected in the music.

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