Gülzar-ı Musıki adlı eserin transkripsiyonu ve bilimsel analizi

Abstract

Bugün kullandığımız ve hemen hemen bilinen tüm eserlerin kayda geçirildiği nota yazım sistemi 20.yy'dan önce kullanılmamaktaydı. 20.yy öncesinde her ne kadar bazı nota sistemleri geliştirilmiş olsa da bunlar zamanın müzisyenleri tarafından çok benimsenmemiş, sadece mucidleri ve onların birkaç talebesi tarafından kullanılmışlardı. Geçmişte, mûsikîmizi kağıda dökebilecek nota sistemlerinin yaygın olmaması sebebiyle meşk sistemi ile eğitimi, tek aktarım yolu olarak ortaya çıkarmıştır. Meşk, eserlerin güfteleri kağıda yazılıp, usul ve makam belirtildikten sonra, dinleyip taklit etme şeklinde uygulanan bir eğitim metodudur. Bu güftelerin yanlarına eserdeki geçkileri hatırlatıcı olarak çeşniler yada geçilen diğer makam isimleri de yazılırdı. Meşk'in en büyük dayanak noktası usûl vurmaktır. Usûl ritm değildir. Sürat yada tempo belirteci de değildir. Aynı usûl farklı tempolarda (mertebelerde) icra edilebilir. Usûl dediğimiz, eserlerin başından sonuna kadar aynı şekilde birçok kez tekrarlanan bir kuvvetli ve zayıf vuruşlar kalıbıdır. Her usûlün de kendine has bir örgüsü, lezzeti, anlamı, kişiliği vardır. Etnomüzikoloji literatüründe bu türden vuruş kalıplarına zaman zaman ritmik makam (rythmic mode) denmesi bundandır. Usûl vurulduğu zaman bu kalıbın düşey dengi olan melodik yapıyı, besteyi hazırlamak kolaylaşırdı. Usûl -eserin iskeletini oluşturduğu için- öğrenci ve icracı için sık sık bir hafiza uyarıcısı yada tazeleyicisi işlevi görürdü. İşte kağıda yazılan bu güftelerin, ya eğitimciler, ya besteciler ya da talebeler tarafından bir arada tutulması güfte kitaplarını oluşturmuştur. 1830'lu yıllardan önce basılı güfte mecmuaları yoktu. İlk Karamanlıca güfte mecmuası 1830 yılında basılmıştır. Arap harfleriyle ilk matbu güfte mecmuası ise 1854 yılına aittir. Bunlardan önce el yazması güfte mecmuaları vardı; ama bunlarda yaygın bir kullanım için yazılmamaktaydılar. vıEl yazması güfte kitapları onu kaleme alanın ve/veya onun öğrencilerinin kişisel olarak yararlanmaları için yazılırdı. Yani bu mecmualar her zaman kişisel olarak icracının yada meşk sırasında talebenin ve hocanın hafızasına destek görevini yerine getirirdi. Ama bu mecmualardan o dönemde mevcut repertuarın bütününün kâğıda dökülmesi beklenmiyordu, zaten beklenemezdi de. Basılı güfte mecmualarının yaygınlaşmaya başlamasından sonra, eski el yazması mecmuaların aksine bu mecmualar yaygınlık kazanmıştır. Mecmuanın yazarı aynı zamanda besteciyse, kendi eserlerini de bu mecmuayla birlikte yayınlamaktaydı. Haşim Bey, Hacı Arif Bey, Şeyh Edhem Efendi yada Şevki Bey buna örnek olarak verilebilir. Bizim incelediğimiz Gülzâr-ı Mûsikî adındaki güfte mecmuası milâdî 1904 yılında Hasan Tahsin tarafından yazılmıştır. Gülzâr-ı Mûsikîde sadece eserlerin güfteleri verilmemiş, usûller, makamlar ve perde isimleri de anlatılmıştır. Hasan Tahsin tarafından yazılan bu mecmua, Haşim Bey' in yazdığı ve Haşim Bey Mecmuası olarak bilinen güfte kitabına çok benzemektedir. Hatta, bu mecmuanın kısaltılmış bir kopyası gibidir. İfadelerde çok küçük değişiklikler yapılmıştır. İncelemede önce kitabın tümünün transkripsiyonu yapılmıştır. Bu transkripsiyonun, giriş, usuller, makamlar ve perdeler bölümleri teze aynen alınmış, güfteler bölümünün ise fihristi çıkartılmıştır. Usuller, makamlar ve perdeler bölümleri, başka kaynaklarla karşılaştırılmış ve böylelikle bu maddelerin tarihi değişimleri ortaya çıkmıştır. Bu genel olarak bir Türk Mûsikîsi nazariyat tarihi değildir. Gülzâr-ı Mûsikî' de anlatılan usuller, makamlar ve perdeler doğrultusunda yapılmıştır. Bu kitabın doğruluğu, yanlışlığı veya yazım ve baskı hataları saptanmıştır. Güfteler bölümü ise, TRT Repertuar Kitabı 2001 Mayıs itibariyle son durumu ile, Sayın Cünyt Kosal'ın şahsi nota arşivi ile karşılaştınlmıştır. Bunun sonucunda da, TRT Repertuarında olmayıp Cüneyt Kosal arşivinde bulunan eserler bulunmuş ve bunların notaları da teze eklenmiştir. vnHasan Tahsin'in hayatı hakkında kesin bir bilgiye ulaşılamamıştır. Bu yazarın çokça Hasan Tahsin Parsadan ile karıştırıldığı görülmüştür. Oysa, Parsadan 1900'de doğmuştur. Hasan Tahsin'in ise 1897 tarihli bir başka kitabı daha vardır. Hasan Tahsin Gülzâr-ı Mûsikî haricindeki kitapları da şunlardır. Hâdika-i Mûsikî (1897), Safâ-yı Dil yahud Yeni Şarkı ve Kantolar (1899), Güldeste-i Mûsikî (1901), Yeni Şarkı Mecmuası (1902), Neş'e-i Dil `Yeni Şarkı ve Kanto Mecmuası` (1908), Musavver Yeni Şarkılar (1913). vnı

The humanbeing has sought for communication with other members of its kind from its early days in the world, and invented many means for this purpose. The most important of these means is its inborn ability to speak. Such ability maintained its importance throughout the history and will keep on maintaining in so far as the humanbeing lives. Because humanbeing is a social creature, that is to say, humanbeing is able to, and must, live in groups consisting of other members of its kind. This has been emphasized in three divine religions as well as some other religious beliefs, and the measures and laws, that is to say ways of living, aiming at enriching social life have been developed accordingly. Since the speaking is an act of the moment and the sounds produced out of speaking vanish into thin air, however, humanbeing was tempted to record such sounds onto something. Because the writing is just like an authentic picture of ideas and sensations. Writing began initially as the result of drawing of a series of figures onto any rigid background. Such figures changed and developed in time, and reached today's level eventually. Invention of writing dates back to the Sumerian era, B.C.4000, according to the data available today. However, perhaps the speaking and writing occurred and developed simultaneously. The humanbeing's need to record all things onto something gave rise to the desire to write the natural sounds onto paper. The signs denoting rybthm, sound and pause developed thanks to such desire, and the seeds of notation system were sown. Charles Fonton, who was a great observer of the musical scene in the 18th Century Istanbul, emphasized the importance of writing and musical score as follows: `...If we were deprived of the knowledge handed over to us from older generations via writing and if we had no opportunity to enrich them all the time, our mental power and cultural universe would have remained very limited. The same judgement is true of the function of musical scores. The musical score is the common language of all countries where fine arts have developed`. The development of notation began from the 10th Century onwards. Initially neumatic (symbols) notation has been used as musical scoring system. This system consisted of ixthree basic accents which will ensure the remembrance of only melody line without specifying the pitches and time signatures; and such accents were placed on the text. Such neumatic notation developed in time and began to show the pitch. This has been done by using a line of different color for each note. Later, a measured notation system has been developed with the effect, among others, of polyphonic music, and today's staff notation technique has been achieved. The first man who contemplated to give a name to the notes was the Roman philosopher Boethius (A.D.5th Century). The names which are in use today have been given by Guido d'Arrezo, a monk from Milan, who lived in the 10th Century. The modern musical style performed in our century use the staff notation system. Composition is written down on paper by use of the symbols invented by the composer involved for each composition. The notation systems used in classical Turkish music are as follows: The notation system called Ebced is the oldest notation technique. Ebced is, the sequence and whole of Arabic letters which are given a numeric value from one to ten consecutively, by tens from ten to one hundred, and by hundreds from one hundred to one thousand, a notation system which contains the addition of letters representing notes of Arabic character to old Semitic alphabet. The system used initially by the Arabian philosopher Kindi (805-875) has been developed further by Turkish scientists at later stages, and hundreds of musical pieces have been put into notation. Among the important names are Urmiyeli Safiyuddin (1224-1294), Meragalı Abdülkadir (1310, 1350-1435), Kutbuddin Şirazi, Nayi Osman Dede (1652-1730), Prens Kantemiroğlu (1673-1727), Şeyh Abdülbaki Nasîr Dede (1765-1821). The Hamparsum Score has been invented by the composer. Hamparsum Limoncuyan (1768-1839) of Armenian origin by the order of the then Sultan 3rd Selim. Such system, which is very easy to write and read, has been catched on more compared with the other systems. Hundreds of instrumental and vocal musical pieces notated in such system have been found. Ali Ufki (1610-1675), who was of Polish origin and whose original name was Wojciech Bobowski (Albert Bobowski), has used the notation that he has written down under the influence of Western musical notation initially in his work called Mecmuay-i Saz ü Söz. This notation system is read from left to right, and only thestaff, note and some symbols of such notation system are similar to those of today's system. Hundreds of instrumental and vocal pieces have been notated by use of such notation system. The system applied by Rauf Yekta Bey, Dr.Suphi Ezgi and Hüseyin Sadettin Arel is an expression of 24 pitched note system in the language of Western notation. It is widely used today. It's the notation system which is offered in the Conservatories as an educational course. Among the other notation systems are the notation technique developed by Abdülkadir Töre and finalized by Ekrem Karadeniz and the notation technique explained by Yalçın Tura in his book Problems of Classical Turkish Music and based on 17 pitched note system. Such systems are not, however, widely used. Since these notation systems failed to gain popular support, another system to replace notation has been used in order to hand over the musical pieces to the next generations. It's a system called Meşk. Meşk is a term borrowed actually from the art of calligraphy, and it means model of calligraphy or calligraphical excercises. Sometimes it means education and learning in its broadest sense. Charles Fonton's observations in respect of the importance of Meşk in music are as follows: `Even if putting a musical piece into notation is easy, it is impossible for an Easterner to recognize and have a good grasp of such a music played by a Westerner. Because it is necessary to add the Song's specific flavor to every note and every pitch, and this can be done only by those who are well informed on such music. Those who tried to put this music into notation have all faced this problem. Such pieces change much and lose their ornaments and flavors and their specific taste when they are played as notated. I can't assert that I have overcome this problem in Arabic, Turkish and Anatolian Greek tunes that I have put into notation. Despite the fact that I have put them into notation with a great diligence and care, it will likely that the lack of such special flavor will be felt in the performance`. xiUntil 80 years ago, meşk was virtually the only way which was applied in the traditional Turkish music for education and passing from older to young generations. In this system which is called `Relationship of Master and Apprentice`, the teacher used to get the lyrics of a piece written down by the students and to teach them about performing thereof in the form of certain sections by beating time. This action would continue up until the students memorize such sections. The biggest supporting point of meşk is beating time. Cadence is not rhythm. It is not a speed or tempo indicator. The same cadence can be performed in different tempos (degrees). Cadence is a pattern of strong and weak beats repeated oftenly in the same way from the beginning to the end of a piece. Every cadence has a specific texture, taste, meaning and personality. This is why such beat patterns are sometimes called rhytmic mode in the ethnomusicological literature. If beating time is involved, it was easier to prepare the melodic structure, namely composition, which is the vertical equivalent of this pattern. Since it constitutes the framework of musical pieces, cadence functioned as a memory stimulator or fresher for both student and performer. Another memory fresher is the magazines of lyrics. No printed magazines of lyrics were available before 1830. The first magazine of lyrics in the language of Karamanlı was published in 1830. The first magazine of lyrics in the Arabic letters was published in 1854. Before such publications, there were magazines of lyrics written by hand; but such manuscripts were not for a wide use. The purpose in writing books of lyrics by hand was to provide the writer and/or his students with a personal help. That is to say, such magazines helped the performer or the student and teacher to fresh, and make better use of, their memory during the course of meşk. However, it was impossible for such magazines to include all of the repertoirs available at that time, and nobody expected such a thing already. After the printed magazines of lyrics achieved a wide use, they replaced the old magazines written by hand. xuWhen the writer of the magazine was the composer himself, he published his own pieces in the magazine as well. Among such writers are Haşini Bey, Hacı Arif Bey, Şeyh Edhem Efendi or Şevki Bey. The magazine of lyrics called Gülzâr-ı Mûsikî, reviewed in our study, was written by Hasan Tahsin in 1904. Gülzâr-ı Mûsikî contained not only lyrics. It also contained the names of pitches, cadences and modes before the section of lyrics. In this study, we tried to make transcription of the work and to make a comparison with the other data available. In this way, we sought for the differences and similarities. In this search, we made an investigation into the history classical Turkish music - to the extent the headings of this book of lyrics allowed - and we observed the differences of understanding and insight in a better way. Consequently, different expressions were drawn out of the cadances, modal progression and pitch names. Furthermore, the printed works not being available in TRT Radio Library but contained in this magazine have been detected. Hasan Tahsin has written many other magazines of lyrics in addition to Gülzâr-ı Mûsikî. Such magazines can be enumerated as follows: Hadika-i Mûsikî (1897), Safa- yı Dil or New Song and Cantos '(1899), Güldeste-i Mûsikî (1901), New Song Magazine (1902), Neş'e-yi Dil `New Song and Canto Magazine` (1908), Musavver New Songs (1913). xm