S
436. Sabâ
437. Sabâ-Aşîrân
438. Sabâ-Bûselik
439. Sabâ-Uşşâk
440. Sabâ-Zemzeme
441. Safâ
442. Sâzkâr
443. Se-Bahr
444. Sebz-Ender-Sebz
445. Sebz-Ender-Sebz-i Hisâr
446. Sebz-Ender-Sebz-i Kadîm
447. Sebz-î Hisâr
448. Sebz-î Tâze
449. Sebzî
450. Segâh
451. Segâh-Acem
452. Segâh-Arabân
453. Segâh-Mâye (Mâye)
454. Segâh-Muhayyer
455. Selmek (Selmekî)
456. Selmek-Büzürk
457. Selmek-Hicâz
458. Selmek-Hüseynî
459. Selmek-i Kebîr
460. Selmek-i Sagîyr
461. Selmek-Irak
462. Selmek-Isfahân
463. Selmek-Kûçek
464. Selmek-Rast
465. Selmek-Rehâvî
466. Selmek-Zirgüle
467. Ser-Bülend
468. Ser-Henk
469. Serendâz (Seng-Endâz)
470. Sipihr
471. Sipihr-Hüseynî
472. Sipihr-Uşşâk
473. Sireng
474. Sultân-ı Bûselik
475. Sultân-ı Cedîd
476. Sultân-ı Nevâ
477. Sultân-ı Segâh
478. Sultân-ı Yegâh
479. Sultân-ı-Irak
480. Suz-i Dil
481. Suz-i Dilâra
482. Sûznâk (Basit Sûzinâk)
483. Sünbüle
484. Sünbüle-i Kâdîm
485. Sünbüle-Nihâvend
486. Şâd-Kâmı
487. Şâh
488. Şâhî
489. Şâhvâr (Şehvâr)
490. Şedd-i Arabân
491. Şehnâz
492. Şehnâz-Aşîrân
493. Şehnâz-Bûselik
494. Şehnâz-Büzürk
495. Şehnâz-Hâverân (Irak)
496. Şehnâz-Hicâz
497. Şehnâz-Hüseynî
498. Şehnâz-Kûçek
499. Şehnâz-Kürdî
500. Şehnâz-Nevâ
501. Şehnâz-Rast
502. Şehnâz-Rehâvî
503. Şehnâz-Uşşâk
504. Şehnâz-Zirgüle
505. Şehr-i Naz (Şehr-Nâz)
506. Şehvâr
507. Şems-Efrûz
508. Şeref-Nümâ
509. Şevk-Âver
510. Şevk-Efzâ
511. Şevk-Engîz
512. Şevk-i Cedîd
513. Şevk-i Dil
514. Şevk-i Serâb
515. Şevk-i Tarâb
516. Şeşgâh
517. Şiâr
518. Şinâver
519. Şirâz
520. Şirâz-Sünbüle
521. Şirîn
522. Şîvekâr
523. Şîvekeş
524. Şîvenümâ
525. Şûrî
526. Şüster
Israel ben Moses Najara was a prolific Jewish liturgical poet, preacher, Biblical commentator, kabbalist, and rabbi of Gaza.
The Turkish makam is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure and melodic development (seyir). Whether a fixed composition or a spontaneous composition, all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul.
Mustafa Itri, more commonly known as Buhurizade Mustafa Itri, or just simply Itri was an Ottoman-Turkish musician, composer, singer and poet. With over a thousand works to his name, although only about forty of these have survived to this day, he is regarded as the master of Turkish classical music. In 2012, due to the 300th anniversary of Itri's death, the UNESCO declared 2012 the "International Itri Year".
The baqashot are a collection of supplications, songs, and prayers that have been sung by the Sephardic Syrian, Moroccan, and Turkish Jewish communities for centuries each week on Shabbat mornings from the early hours of the morning until dawn. They are usually recited during the weeks of winter, from the Jewish festival of Sukkot through Purim, when the nights are much longer. The baqashot services can last for three to four hours. The Ades Synagogue in Jerusalem is the center of the Syrian practice today, and communities in Ashdod and Montreal are the center of the Moroccan practice.
An exonym is a place name, used by non-natives of that place, that differs from the official or native name for that place. Turkish has a wealth of exonyms in areas beyond the current borders of Turkey notably those that were once part of Ottoman Empire and its vassals and tributaries or within the Turkish, Ottoman, or a Turkic sphere of cultural or economic influence. In addition, Turkish sometimes renders the names of other cities in a phonetic Turkish spelling, e.g., Chicago as Şikago or Manchester as Mançester. As these forms are not commonly used in Turkish, there is not a systematic attempt to include them here.
Oktōēchos is the name of the eight mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today.
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