http://www.medimuses.gr/book_publications/corpora.html
As a European initiative Ottoman composers who used Byzantine neumes, had been transcribed by Kyriakos Kalaitzides and other editors (please note that only Cemil Bey has an entry at the New Grove). You can download the monographies under free access conditions for didactic purpose. Each corpus has a biography and scores with selected works of each composer:
- Zakharia Khanendeh
The most important composer of vocal works in the field of secular art music of both the Greek and Turkish communities, as well as a composer of ecclesiastical music. He lived in Istanbul in the 18th century. His works have partly been handed down to us through the oral tradition, but mainly through manuscript codices in Byzantine notation. The author presents the compositions in both western and Byzantine notation, as well as through photographs of manuscripts. (Kyriakos Kalaitzides)
- Khmayyis Tarnan
The most influential Tunisian composer. The author collected versions of Tarnan’s compositions that are in use amongst musicians and undertook transcriptions from recordings. (Mahmoud Guettat)
- Sayyed Darwish
One of the major figures of Egyptian music in the first quarter of the 20th century, despite his untimely death at the age of 31, Sheikh Sayyed Darwish absorbed many influences to produce a style of composition that remained influential well into the second half of the century. (Ghada Shbeir) - Tatyos Efendi
The most important Armenian composer of the Mediterranean urban musical heritage. He lived at the end of the 19th century and his work was widely performed by Turks, Arabs, Greeks and Armenians. The author used printed scores as well as undertaking transcriptions from 78 rpm recordings. (Vasilis Tzortzinis) - Darvish Khan
From one of the most respected musical families of Iran, Gholam Hossein, known however as Darvish Khan, was, until his untimely death in a car accident, perhaps the most influential musician in early 20th century Iran. His compositions re-established a connection with the great Dastgahi tradition of classical Persian music, but in a way that reflected the artists historical context. (Christos Carras, Kiya Tabassian) - Tanburi Cemil Bey
He is considered to be the major reformer of Turkish music at the turn of the 19th century. The author had recourse to the archives of the Turkish National Radio, the Conservatoire and 78 rpm recordings. (Necip Gulses)
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