A late eighteenth-century mechanical organ, built into a clock made by Henry Borrell of London, plays melodies that sound completely unlike those normally found on English domestic musical clocks. This article draws on the disciplines of historical musicology, ethnomusicology and horology to argue that these tunes derive directly from the repertory of the eighteenth-century Ottoman court. The melodies are analysed firstly in the context of the Ottoman repertory and then alongside contemporary European transcriptions of ‘exotic’ music, notably Edward Jones’s Lyric Airs. The distortion of ‘Turkish’ melodies in European representations is set within the wider context of orientalism and musical transculturation; this evidence is then brought to bear on interpreting music that may also be subject to mechanical distortion. The article ends with a consideration of how these earliest known sounding examples of Ottoman music may have arrived in London and its reception there.

中文翻译：

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来自18世纪伦敦的土耳其机械音乐来源

伦敦亨利·博雷尔（Henry Borrell）制作的钟表中内置了一种十八世纪末期的机械风琴，其旋律听起来完全不同于通常在英国国内音乐钟表中发现的旋律。本文利用历史音乐学，民族音乐学和钟表学的学科来论证，这些乐曲直接来自18世纪奥斯曼法院的曲目。首先在奥斯曼帝国的曲目中对旋律进行分析，然后与当代欧洲对“异国”音乐的转录进行分析，尤其是爱德华·琼斯的抒情歌。在欧洲代表中“土耳其”旋律的扭曲是在东方主义和音乐文化的更广泛背景下发生的。然后，这些证据将用于解释音乐，这些音乐也可能会受到机械失真的影响。