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The The Creation of an Ottoman Turkish Psalter. Ali Ufkî’s (Bobovius) Mezmûriyye (ca. 1665) and Maciej Rybiński’s Psalmy Dawidowe (1608)

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Pawlina A.

The Biblical Annals

2023

vol. 13

issue 4

635-660

Wojciech Bobowski is better known in international academia under the Latinised version of his name: Albertus Bobovius and by his Turkish name: Ali Ufki. Most probably, he was born in Lviv, ca. 1610 and died in Constantinople, ca. 1675. He left for posterity numerous works that today we would classify as belonging to several fields of the humanities: musicology, linguistics, religious studies, cultural studies, political history and even ethnography. His best-known works include one of the earliest translations of the Bible into Turkish (1662–1664), an influential treatise on Islam (1690), a description of the Topkapı Palace (1665) – the main seat of the Ottoman sultan, where he lived and worked as a court musician – and collection of more than 500 Ottoman Turkish musical pieces written in European stave notation (ca. 1640–1650). In this paper, the author first presents outcomes of her current archival research on Bobowski’s early life in the Polish-Lithuanian Commonwealth. Then, she demonstrates the possibility that when working on Mezmuriyye – the Ottoman Turkish psalter, Ali Ufki took inspiration from the Polish translation of the Genevan Psalter from French by Maciej Rybiński, an influential bishop of the Reformed Church in the 17th-century Poland. This theory is based on the analysis of linguistic content of French, Polish and Ottoman Turkish lyrics, as well as the striking visual resemblance of Bobowski’s Mezmuriyye and one specific old-print of Rybiński’s Psalmy Dawidowe na melodie francuskie uczynione published in 1608.

Muzyka klasyczna w Imperium Osmańskim

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Pawlina A.

Przegląd Orientalistyczny

2014

issue 1-2

61-76

This paper aims to present a historical overview of the westernization process in music culture of the Ottoman Empire. Contrary to what is generally believed, the transformation of Ottoman music from the monophonic system based on melodic and rhythmic patterns (makams and usuls) to the European polyphony was not the idea of the newly formed Turkish state of the early 20th century. In the beginning of the 19th century, the Ottoman Empire faced decline. Under the threat of European domination, remaining sultans tried to balance the level of development in science and technology between the West and their own country by great reforms. In the 19th century, for the Ottoman court the adaptation of the western music system was a symbol of acculturation and modernization. In the last decades of the Ottoman Empire, with the help of European musicans and theoreticians, the first institutions of western style music education were established. Thus, surprisingly, music culture seems to be a shared heritage of the Ottoman Empire and the Republic of Turkey.

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1 Przegląd Orientalistyczny

1 The Biblical Annals

2 Pawlina A.

1 2023

1 2014

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The The Creation of an Ottoman Turkish Psalter. Ali Ufkî’s (Bobovius) Mezmûriyye (ca. 1665) and Maciej Rybiński’s Psalmy Dawidowe (1608)

Muzyka klasyczna w Imperium Osmańskim