An analysis of the modernization process of the Ottoman Empire and the works of composers sultans who composed music in the European style

This study aims to systematically examine the artistic and musical contributions of five Ottoman sultans who implemented significant reforms in the direction of modernization during their reigns, within the broader historical timeline of the Ottoman Empire, from its foundation in 1299 to its dissolution in 1922. Throughout this 623-year period, which began with Osman Gazi's establishment of the state in Söğüt and ended with the abdication of Sultan Mehmed VI Vahdeddin, the compositional activities of sultans, their patronage of musical institutions, their commissioned architectural works, and the musical practices of their eras are analyzed from an interdisciplinary perspective. The central focus of the thesis lies in the transformation of music during the Ottoman modernization process, with particular attention paid to five composer-sultans who composed in the style of European classical music. Their lives, educational backgrounds, and European style compositions are investigated in depth. Selected works composed by these five sultans, Sultan Selim III, Sultan Mahmud II, Sultan Abdülmecid, Sultan Abdülaziz, and Sultan Murad V are analyzed to highlight stylistic differences and individual characteristics. Through this selection, the study aims to identify structural influences of European music via analyses of form, harmony, rhythm, and melody. In addition to musicological data, the study also considers the political, military, socio-economic, and societal contexts in which these musical developments took place. The research suggests that the initial steps of Ottoman modernization were not taken in the field of music but rather emerged from a military necessity stemming from defeats in war and a growing perception of the Empire's inferiority to European powers in terms of military capacity. Detailed analysis reveals that the aforementioned sultans were not merely aesthetically drawn to Western music or interested in it as a token of modernization; rather, they exhibited a deep and genuine engagement with the Western classical tradition. Their compositions are regarded as significant examples of the early emergence of polyphonic music within the Ottoman Empire. Furthermore, the thesis argues that the sultans' interest in European music should not be viewed solely as a reflection of personal taste or artistic curiosity, but also as an extension of the Empire's broader modernization and modernization agenda. Their compositional practices are interpreted as a cultural reflection of the Ottoman Empire's evolving relationship with Europe during the 19th century. Within this framework, music is understood not only as an aesthetic form of expression but also as a cultural tool through which identity, belonging, and ideological orientation were articulated. The sultans' works demonstrate the conscious and profound nature of this musical engagement. By analyzing these compositions both musicologically and within their historical, social, and ideological contexts, the study sheds light on the multifaceted meanings music carried throughout the Ottoman modernization process. In this regard, the thesis contributes meaningfully to literature by demonstrating that the modernization of the Ottoman Empire had far-reaching effects not only in military or administrative fields, but also in more nuanced domains such as culture and the arts. In conclusion, this study seeks to fill a gap in the literature on music and art within the context of Ottoman modernization. It also aims to support ongoing academic efforts and provide a methodological framework for future research in this area.