Another Music Book by Prof. Cem Behar, the Lecturer in ŞEHİR
"Orada Bir Musıki Var Uzakta...", written by Prof. Cem Behar, the lecturer ŞEHİR Management Department was published.
The book, titled "Orada Bir Musiki Var Uzakta...", written by Prof. Cem Behar, the lecturer in İstanbul Şehir University School of Management and Administrative Sciences, hit the shelves.​​

Prof. Cem Behar has books about Ottoman music such as "Aşk Olmayınca Meşk Olmaz", "Kan Dolaşımı, Ameliyat ve Musıki Makamları", "Şeyhülislam’ın Müziği - 18. Yüzyılda Osmanlı" and "Saklı Mecmua".

In the blurb of "Orada Bir Musıki Var Uzakta..." (A music there, far away) published by Yapı Kredi Publishing, the followings have been stated:

In his book, "Orada Bir Musıki Var Uzakta...", Cem Behar follows the traces of how the new political, social and economic conditions prepared the ground for the formation of a "Ottoman style" music in the imperial capital, Istanbul, by making the archeology of the change in Ottoman / Turkish music in the sixteenth century.
Cem Behar examined the cases such as the listening of music not only by Palace but also by public thanks to the opening of the coffee shops, the opposition between avâm/havass, and the Iranian effect on the performance of music, based on the lyrics magazines and the depiction of a miniature, which is the only visual resource we have, about that period (the second half of the sixteenth century), and he leaves an indelible mark on our music history.
"​As we know it today, traditional Ottoman / Turkish music begins to form mainly as of the second half of the sixteenth century roughly speaking. Therefore, the second half of the sixteenth century and the beginning of the seventeenth century constitutes an important threshold and a breaking point in our musical tradition. When we look at the Ottoman /Turkish musical tradition, as far as we know and we can detect looking backwards, the established musical forms, the understanding of makam and style technically, the musical instruments and the works in the repertoire we have and their compositors don’t let us to date them before the second half of the sixteenth century."