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- Today, if a person were to organize his life along the lines of Ömer Hayyam or Mevlana, he would be very likely be considered mad and perhaps even locked up. It is a social necessity in this mechanizing Turkey of today to confine to the dustbin of history the opium-like music of the unlearned man. In the first step in this sorting and cleansing operation for the ear, the publication and printing of songs should be strictly limited and controlled." (en)
- "The art of musick almost forgot, not only re-viv’d, but was rendered more perfect by Osman Effendi, a noble Constantinopolitan.” (en)
- "This unsophisticated music can not feed the needs of the Turkish soul, the Turkish sensibility to explore new paths. We have just heard the music of the civilized world [Western music], and the people who gave a rather anemic reaction to the murmurings known as Eastern music, immediately came to life. Turks are, indeed, naturally vivacious and high-spirited, and if these admirable characteristics were for a time not perceived, it was not their fault. (en)
- "What our millions require is neither mystical tekke music, nor wine, nor wine-glass, nor beloved. Without delay, we must give our people sonic food on a universal scale. The damage already done to people's minds by drinking-house songs and worthless jazz tunes is comparable to the use of morphine and cocaine. We should not forget that in some countries, where musical culture is not as weak as our own, jazz is forbidden in order to protect the musical taste of the people. (en)
- A “composer” in the Ottoman context is not an “original genius”, who by himself creates anew. He is rather a person experienced in the musical tradition, who – within certain rules – through the combination of basic elements of form, rhythm and melodic models, creates a new derivation. This derivation passes on to the transmitting community who continue to compose and revise coequally with the composer and adjusts his original “derivation” to ever-changing aesthetic standards. (en)
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