| dc.description.abstract | When cultivation and enculturation according to the palace etiquette is taken as a criterion, it is possible to subject the Ottoman society to a two-layered social stratification in the form of those who have this decency (elites) and those who do not (commons). Whereas both musics specific for the elite and public tastes, they present a common structure in terms of four basic elements [tone/fret, tune/melodic motive, makam (melodic mode) and usul (rhythmic mode)] that shape music. Within this common structure, it can be seen that the distinctions between the music of the two strata are based on the style. At this point, the question of how the music produced and performed especially for the elite taste differs in terms of style gains importance. Various people, groups and circles belonging to the elite stratum, particularly the sultan and the dynasty, have become the main patrons of all the arts and sciences in the Ottoman world. In this article, it is emphasized that the musical works composed for the elite taste become special and privileged through the stylistic difference. This fact is considered here as a fundamental factor with the aim of analyzing the processes of canonization and classicization in terms of the development of a peculiar musical repertoire and style. One of the basic expectations of the Ottoman elite's patronage of the art of music has been to provide for the development of a subtle classical style that reflects their own musical taste. This situation clearly reveals its connection with sociological issues such as status, elite identity and taste culture. | en_US |
