Jacob Olley
Biographic Data
| ID | 5877941 |
|---|---|
| NAME | Jacob Olley |
| GIVEN NAMES | Jacob |
| FAMILY NAME | Olley |
| SIGNATURE | OLLEY J |
| AFFILIATIONS | University of Cambridge |
| ORCID | 0000-0002-2814-3594 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Joking Aside: European Music and the Dislocation of Modernity in Nineteenth-Century Ottoman Satire
In this article, I examine humorous portrayals of European music in satirical journals published in Istanbul during the 1870s. Drawing on theories of humor as a means of expressing ambiguity, I analyze a description of a private salon concert as well as polemical debates about the public performance and reception of Turkish-language operetta. Through the strategic use of irony and mistranslation, Ottoman satirists exposed the incongruities of bei…
Resounding 1923: Musical Modernities from the Ottoman Empire to the Turkish Republic
The introduction provides an overview of the concepts and topics explored in this themed issue. It begins by reflecting on practices of commemoration and the significance of 1923 in modern Turkish history. It then discusses the concept of “modernities” in relation to the Ottoman Empire and post-Ottoman nation-states, both in terms of musical developments and broader political and cultural processes. It emphasizes continuities and interactions bet…
Translating Rousseau Between Venice and Istanbul: Enlightenment and Connected History in an Armenian Music Treatise (1812)
This article discusses a music treatise written in 1812 by the Catholic Armenian polymath Minas Bzhshkean (1777–1851). The article focuses on the historical and intellectual context in which the idea of notational reform emerged within the Armenian diaspora. Bzhshkean was born in the Ottoman Empire but educated at the Mekhitarist monastery of San Lazzaro in Venice, which was the leading intellectual centre of the Armenian Enlightenment. By discus…
An Orient of One’s Own: Music and Islamic Modernism in the Late Ottoman Empire
During the late nineteenth and early twentieth centuries, Muslim intellectuals sought to articulate new forms of Islamic thought and practice that would be suitable for the modern world. Islamic modernist movements drew on concepts of civilization, progress and science that were integral to European imperialism while also constituting a critical response to the latter. In this essay, I examine the views of prominent Ottoman Muslim reformists conc…
Imagined Musical Geographies in a Global Age: Views from Jodhpur, Istanbul and Buenos Aires, c. 1870–1930
This collection of papers explores the intellectual history of music in global context during the period between around 1870 and 1930. Following an introduction that discusses the state of the field, each of the three papers presents a case study that explores the intersection between music and global history from diverse perspectives. The first paper discusses a Hindi music treatise published in 1896. By situating this work within multiple ‘sign…
Evliya’s Song: Listening to the Early Modern Ottoman Court
This article discusses the relationship between music, sound, writing, and power in the early modern Ottoman Empire. It focuses on a description of a musical gathering at the court of Murad IV (r. 1623–40) in the Seyahatnâme (Book of travels), written by the courtier and musician Evliya Çelebi (1611–ca. 1685). The article draws on literature from historical anthropology, sound studies, and Ottoman cultural history to produce a multilayered readin…
Measuring Progress: The Ottoman Revival of Systematist Music Theory, c.1900
This article traces the historical and intellectual origins of modern Turkish music theory in the late Ottoman period. It examines debates about music theory in the Ottoman Turkish press during the 1880s and 1890s, focusing particularly on the earliest publications of Raʾūf Yektā (1288–1353/1871–1935). The article shows how the modern Turkish theory of pitch was created by Yektā and his collaborators through the rediscovery of Arabic and Persian …
Remembering Armenian music in Bolis: Komitas Vardapet in transcultural perspective
This article explores the relationship between music, memory and transcultural processes in late Ottoman Istanbul by studying the writings of the Armenian composer and musicologist Komitas Vardapet (1869–1935). It describes the changing political and intellectual landscape in which Komitas and his contemporaries redefined the collective musical memory of the Armenian people through a process of secularisation and internationalisation. I argue tha…
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Remembering Armenian music in Bolis: Komitas Vardapet in transcultural perspective
This article explores the relationship between music, memory and transcultural processes in late Ottoman Istanbul by studying the writings of the Armenian composer and musicologist Komitas Vardapet (1869–1935). It describes the changing political and intellectual landscape in which Komitas and his contemporaries redefined the collective musical memory of the Armenian people through a process of secularisation and internationalisation. I argue tha…
An Orient of One’s Own: Music and Islamic Modernism in the Late Ottoman Empire
During the late nineteenth and early twentieth centuries, Muslim intellectuals sought to articulate new forms of Islamic thought and practice that would be suitable for the modern world. Islamic modernist movements drew on concepts of civilization, progress and science that were integral to European imperialism while also constituting a critical response to the latter. In this essay, I examine the views of prominent Ottoman Muslim reformists conc…
Imagined Musical Geographies in a Global Age: Views from Jodhpur, Istanbul and Buenos Aires, c. 1870–1930
This collection of papers explores the intellectual history of music in global context during the period between around 1870 and 1930. Following an introduction that discusses the state of the field, each of the three papers presents a case study that explores the intersection between music and global history from diverse perspectives. The first paper discusses a Hindi music treatise published in 1896. By situating this work within multiple ‘sign…
Evliya’s Song: Listening to the Early Modern Ottoman Court
This article discusses the relationship between music, sound, writing, and power in the early modern Ottoman Empire. It focuses on a description of a musical gathering at the court of Murad IV (r. 1623–40) in the Seyahatnâme (Book of travels), written by the courtier and musician Evliya Çelebi (1611–ca. 1685). The article draws on literature from historical anthropology, sound studies, and Ottoman cultural history to produce a multilayered readin…
Measuring Progress: The Ottoman Revival of Systematist Music Theory, c.1900
This article traces the historical and intellectual origins of modern Turkish music theory in the late Ottoman period. It examines debates about music theory in the Ottoman Turkish press during the 1880s and 1890s, focusing particularly on the earliest publications of Raʾūf Yektā (1288–1353/1871–1935). The article shows how the modern Turkish theory of pitch was created by Yektā and his collaborators through the rediscovery of Arabic and Persian …
Joking Aside: European Music and the Dislocation of Modernity in Nineteenth-Century Ottoman Satire
In this article, I examine humorous portrayals of European music in satirical journals published in Istanbul during the 1870s. Drawing on theories of humor as a means of expressing ambiguity, I analyze a description of a private salon concert as well as polemical debates about the public performance and reception of Turkish-language operetta. Through the strategic use of irony and mistranslation, Ottoman satirists exposed the incongruities of bei…
Resounding 1923: Musical Modernities from the Ottoman Empire to the Turkish Republic
The introduction provides an overview of the concepts and topics explored in this themed issue. It begins by reflecting on practices of commemoration and the significance of 1923 in modern Turkish history. It then discusses the concept of “modernities” in relation to the Ottoman Empire and post-Ottoman nation-states, both in terms of musical developments and broader political and cultural processes. It emphasizes continuities and interactions bet…
Translating Rousseau Between Venice and Istanbul: Enlightenment and Connected History in an Armenian Music Treatise (1812)
This article discusses a music treatise written in 1812 by the Catholic Armenian polymath Minas Bzhshkean (1777–1851). The article focuses on the historical and intellectual context in which the idea of notational reform emerged within the Armenian diaspora. Bzhshkean was born in the Ottoman Empire but educated at the Mekhitarist monastery of San Lazzaro in Venice, which was the leading intellectual centre of the Armenian Enlightenment. By discus…
History (8 works) · Art (7 works) · Literature (6 works) · Sociology (5 works) · Aesthetics (4 works) · Ancient history (4 works) · Archaeology (4 works) · Diverse Musicological Studies (4 works) · Musical (4 works) · Philosophy (4 works)