Foto von Dr. Jacob Olley

Dr. Jacob Olley

Wissenschaftlicher Mitarbeiter

Arbeits- und Interessengebiete

  • Osmanische Musik und Kulturgeschichte
  • Geschichte osmanischer Notationssysteme
  • Armenische und armeno-türkische Musikquellen
  • Musik und Globalgeschichte im langen 19. Jahrhundert

Weiteres:

Academia.edu-Profil: https://uni-m.academia.edu/JacobOlley

  • Vita

    Jacob Olley studierte Ethnomusikologie (B.A. und M.Mus) an der School of Oriental and African Studies (SOAS) in London (2007-2011). Er absolvierte ein von der AHRC finanziertes Promotionsstudium am King's College London, betreut von Martin Stokes. Seine Doktorarbeit trägt den Titel "Writing Music in Early Nineteenth-Century Istanbul: Ottoman Armenians and the Invention of Hampartsum Notation" und befasst sich mit der Verwendung von Notation  im späten Osmanischen Reich, unter Einbeziehung Ideen-, Sozial- und Kulturgeschichtlicher Aspekte. Jacob Olley unterrichtete bereits am SOAS, am King's College London und an der Universität Kassel. Seit 2015 ist er wissenschaftlicher Mitarbeit im CMO-Projekt, innerhalb dessen er sich der Edition von Armeno-türkischen Musikmanuskripten widmet.

  • Publikationen/Publications/Yayınlar

    (Selected Publications)

    • “Remembering Armenian Music in Bolis: Komitas Vardapet in Transcultural Perspective.” Memory Studies 12, no. 5 (2019) (Special Issue: Ottoman Transcultural Memories, edited by Gabriel Koureas, Jay Prosser, Colette Wilson, and Leslie Hakim-Dowek): 547–64.
    • With Anna Plaksin. “Creating an Encoding Workflow for a Critical Edition of Ottoman Music Manuscripts: Challenges and Solutions.” In Music Encoding Conference Proceedings 2015, 2016 and 2017, edited by Giuliani Di Bacco, Johannes Kepper and Perry D. Roland, 119–30. 2019. DOI: https://doi.org/10.15463/music-1.
    • “Some Notes on the Manuscripts in Hampartsum Notation in the Hüseyin Sâdettin Arel Archive.” In 2017 Arel Sempozyumu Bildirileri: Uluslararası Hüseyin Sadettin Arel ve Türk Müziği Sempozyumu, 13–14 Aralık 2017, edited by Fikret Turan, Emine Temel and Emre Kurban, 351–91. Istanbul: İstanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü, 2018.
    • “Towards a New Theory of Historical Change in the Ottoman Instrumental Repertoire.” In Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright, edited by Rachel Harris and Martin Stokes, 22–41. Abingdon: Routledge, 2018.
    • Ed. with Zeynep Helvacı and Ralf Martin Jäger. Rhythmic Cycles and Structures in the Art Music of the Middle East. Würzburg: Ergon-Verlag, 2017.
    • “Rhythmic Augmentation and the Transformation of the Ottoman Peşrev, 18th–19th Centuries.” In Rhythmic Cycles and Structures in the Art Music of the Middle East, edited by Zeynep Helvacı, Jacob Olley and Ralf Martin Jäger, 179–88. Würzburg: Ergon-Verlag, 2017.
    • “Towards a Global History of Music? Postcolonial Studies and Historical Musicology.” Ethnomusicology Review (Sounding Board, 2016). https://ethnomusicologyreview.ucla.edu/content/towards-global-history-music-postcolonial-studies-and-historical-musicology.
    • “Modal Diversity in Early Ottoman Music: The Case of Makâm Sabâ.” Near Eastern Musicology Online 1 (2012): 39–54.