Writing the history of “Ottoman Music” Martin Greve: Introduction Bülent Aksoy: Preliminary Notes on the Possibility (or Impossibility) of Writing Ottoman Musical History Ralf Martin Jäger: Concepts of Western and Ottoman Music History Ruhi Ayangil: Thoughts and Suggestions on Writing Turkish Music History Ersu Pekin: Neither Dates nor Sources: A Methodological Problem in Writing the History of Ottoman Music Nilgün Dogrusöz: From Anatolian Edvâr (Musical Theory Book) Writers to Abdülbâkî Nâsir Dede: An Evaluation of the History of Ottoman Turkish Music Theory Walter Feldman: The Musical “Renaissance” of Late Seventeenth Century Ottoman Turkey: Reflections on the Musical Materials of Ali Ufkî Bey (ca. 1610 1675) Hâfiz Post (d. 1694) and the “Marâghî” Repertoire Kyriakos Kalaitzidis: Post Byzantine Musical Manuscripts as Sources for Oriental Secular Music: The Case of Petros Peloponnesios (1740 1778) and the Music of the Otto man Court Gönül Paçaci: Changes in the Field of Turkish Music during the Late Ottoman Early Republican Era Arzu Öztürkmen: The Quest for “National Music”: A Historical Ethnographic Survey of New Approaches to Folk Music Research Okan Murat Öztürk: An Effective Means for Representing the Unity of Opposites: The Development of Ideology Concerning Folk Music in Turkey in the Context of Nationalism and Ethnic Identity Süley man Senel: Ottoman Türkü Fikret Karakaya: Do Early Notation Collections Represent the Music of their Times Sehvar Besiroglu: Demetrius Cantemir and the Music of his Time: The Concept of Authenticity and Types of Performance Andreas Haug: Reconstructing Western “Monophonic” Music Recep Uslu: Is an Echo of Seljuk Music Audible A Methodological Research