Turko-jewish music-khazar: Introduction and link to listen!

[prof. mes solzhenitsy]

KHAZAR MANUALS: BOOKLET & CD* *The musical album conducted & played by the author contains 9 tracks !

The Anatomy of a Semi Military-Semi Religious

KHAZAR MUSICAL WAR ON A SAMPLE*

The march of Turco-Jewish Khazar Musical influence along the Black Sea coast was slow but sure. On the first half of 9th Century the Jewish Hymn Musicians were within thirty-five miles of Trabzon, but in the next nineteen years they only advanced five miles. From the musical excerpt traces one can find the mile-stones of the historical, sacred melodies. On an April day the Hazans (Cantors) of the Khazar Empire reached the Uzun-Göl, a torrent flowing through a deep gorge and flanked by high mountains. Under Byzantium guidance the non-Turkish natives had constructed strong musical defenses against the foreign hymns. On several April High Plateau Festivals a fierce cultural battle was fought along the line of this religious music performance, and the natives were thrust back and driven from Church song battle-field position after position. At the end of the 9th century the Hazans were within seven miles of Trabzon, and on the eve of 10th century they entered the place without serious opposition. Thus the most important of all the fortified cultural towers in the Black Sea Religious Music the coast of the Black Sea was not lost to Orthodox World but the Hazan Hymns has begun contribute it in the way of shaping the Black Sea Modern Folklore, and especially its Jewish Mid-Sound System-the most accurate quarter flat sound.

After their defeat at Tonya, Kara Dere, Uzungöl in the 10th century the natives of Trabzon decided to abandon Byzantium Hymns. It really was of no use to them now that the Khazars were in command of the Black Sea. Any attempt to defend it would have meant that the cultural garrisons would be locked up inside the forts surrounding the town, and would finally be obliged to surrender. Before retreating, the natives carried off or destroyed the Greek Melodies notes and the musical instrument stores, so that little booty fell into Hazans or semi Rabbies hands. They marched in orderly fashion to Bayburt, about fifty miles north-west of Erzurum, where they joined up with their main musical forces that as to be listen to by means of the musical piece attached.

The natives had lost nothing by abandoning Trabzon, but the Khazars had won a sea-gate that was bound to be of great use to them for supply The Inhabitants of Black Sea Coast. All the credit of this fine achievement must not go to the Khazar casntors which entered the port. The merchants and tourists had played an important part by convoying the Jewish Hymns, by bombarding the churches with rich Halaka Melodies, and by landing Jewish Musicians. The Khazar armies further south had also helped in the musical conquering. When the Monks saw that Trabzon Religious Music was in danger they hurried up reinforcements from Constantinople, and made a great effort to drive the Hazans back. They suddenly attacked the folkloric flank of the Khazars, in the hope that they would weaken their centre to aid the threatened wing. Then they hurled their main musical forces at the centre, which lay west of Erzurum. Had they succeeded in breaking through, they would have compelled the Khazars along the coast to retreat in order to avoid being surrounded and cut off from their cultural communications. The Khazar Hazans, however, were able to beat back these assaults, and the counter music's plan completely failed. Nevertheless the “Middle Sound- Quarter note of Khazar musical road from Trabzon Folklore to Erzurum Traditional Music was not yet open; the natives still clung to the passes along the musical road, and for many decades the Khazars failed to dislodge them.

After the capture of Erzurum Religious Music by Khazar Turks in 10th Century Hazans followed up the Arabs and Greeks with great energy as they retreated towards Erzincan, Aşkale and Gümüşhane. By the 10th Century Khazars’ advanced guards had seized Muş Folklore, eighty miles south of Erzurum, and after 25 years they were in musical possession of Ahlat, on Lake Van. By the first quarter the Khazar Melodies had stormed Bitlis, and their troubadours were pushing on towards Diyarbakır, on the edge of the Mesopotamian plain, and towards Mosul on the Tigris. But about the middle of the century large Arabic reinforcements arrived on the line Diyarbakır-Erzincan-Bayburt, and were able to check the advance of the Khazar Turks both westwards and southwards.

While, however, the Khazars were prevented from pushing towards the Baghdad musical region from Bitlis, a force, which for two decades had been fighting the hybrid Persian music west of Lake Urmia, crossed the Iraqi border and seized some towns about eighty miles east of Mosul. Thirteen years after the fall of Kut musically the Khazars were holding the front shown upon the musical map in my Shalom Articles (See Khazar Gezi Notları/by Prof. Dr. M. Erdoğan Sürat-Shalom 2000s.) It was not a continuous line of entrenchments, such as the Allies-Byzantine and Arabic Countries’ music held in the West, but was broken by lofty mountains, amongst which Turkish Hazans(Cantors) could not operate. You will notice that its southern end was only about two hundred and fifty miles, as the airplane flies, from the Arabic Musicians on the brinks of the Euphrates and the Tigris. The musical excerpt which is attached tells the story of Khazar Music’s victory over a huge area from the Black Sea coast- Trabzon, to the Tigris! It is neither oriental nor occidental. It is both polyphonic and monophonic. It is also a Musical Bridge betwixt the East and West!

 

TO LISTEN TO THE MUSIC SAMPLE OF KHAZAR TURKO-JEWISH EMPIRE!

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prof. mustafa erdoğan sürat / muazzam ... - Video İzle - Kendin Coş

[prof. mes solzhenitsy]

This is a sacred hebrew speedy melody with which one can pray and dance!