Italian theater and opera has had a profound effect on Turkish culture in the past century. Like the terminology ofseamanship, the terminology of music and theater derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "sahano", backstage was referred to as "koyuntu", backdrops depicting countryside were "bosko", the appiause was "furi" and the songs sung between the acts and plays were called "kanto".
These new CDs are not being introduced as a simple addition to the consumer market, as they were produced with the consciousness that authentic Byzantine melody is not music intended for popular consumption, nor can it become an object of commercialization. On the contrary, Byzantine music belongs to the realm of transcendence. It is word [logos] in musical form, the word of revelation and disclosure of truth and the experience of the Church that is not related to the provocation of the senses, emotion, pleasure, or delight. The beauty, therefore, of Byzantine music does not have an aesthetic basis, but rather an ontological one, which imprints and defines this beauty in both an iconic and Eucharistic fashion in the Divine Services.