İstanbul Atatürk Kitaplığı`ndaki 1637 nolu yazma Hamparsum nota defteri (2 cilt)

Abstract

`İstanbul Atatürk Kitaphğı'ndaki 1637 No'lu Yazma Hamparsum Nota Defteri` konulu bu çalışma; İstanbul Teknik Üniversitesi Sosyal Bilimler Enstitüsü Temel Bilimler Ana Sanat Dah, Türk Sanat Müziği Alanı'nda Sanatta Yeterlik Tezi olarak hazırlanmıştır. Geçmişi insanlık tarihi kadar eski olan müziğin, insanda yaratmış olduğu estetik duygular ve toplumların gelişiminde oynadığı rolün yam sıra; geleneklerin devamım sağlaması ile birlikte ait olduğu dönemi yansıtması bakımından önemli bir yere sahip olduğu gerçektir. İnsanoğlu, nasıl konuşurken kullandığı sesleri harf olarak yazıya dökmek ihtiyacı duymuşsa, bir melodiyi meydana getiren sesleri de aym şekilde kâğıt üzerinde ifâde edebilme gereksinimini hissetmiştir. Böylece müziği yazmak konusundaki ilk çalışmalar kendisini gösterir. Önceleri sadece bilinen bir ezgiyi hatırlatmaktan öteye gitmeyen basit işaretlerin oluşturduğu nota, geniş bir zaman dilimi içerisinde gelişimini tamamlar ve günümüzdeki halini alır. Klâsik Türk Müziğinde, İslâmiyet' in kabulünden sonra; nota çalışmaları değişik müzisyenler tarafından, kimi zaman benzer, kimi zaman da farklı metotlar denenerek yürütülmeye başlatılmıştır. XIX. yüzyılın ilk yarısında `Baba Hamparsum` olarak da bilinen Ermeni asıllı Hamparsum Limoncıyan' in (1768-1839) geliştirdiği, kendi adı ile anılan nota yazım sistemi bunlardan birisidir. Sesleri tam olarak karşılayamamasına rağmen, uygulamadaki kolaylığı ve çabuk öğrenilebilir olması nedeni ile Hamparsum notası XX. yüzyılın başlarına dek Türk Müziğinde yaygm olarak kullamlmıştrr. Bu çalışmada; İstanbul Atatürk Kitaplığı'nda 1637 no' lu defter olarak kayıtlı bulunan elyazması Hamparsum nota defterinde yer alan, çeşitli formlardaki toplam iki yüz VIyetmiş bir eser aslına sadık kalınarak günümüz notasına çevrilmiştir. Besteci isimlerinde ve eserlerin notalarında karşılaşılan farklılıklar, hattâ güftelerde rastlanılan ve anlamı bozan bazı hatalar dahi aynen belirtilmiştir. Bu konunun `Tez` olarak ele alınmasındaki amaç, bugün hâlâ icra edilmekte olan eserlerin geçen yüzyılda tespit edilmiş biçimlerini, herhangi bir ekleme ya da eksiltmede bulunmadan, müziğimizi bu açıdan ele alan araştırmacıların incelemesine sunabilmektir. vu

This study regarding `Nr:1637 Hamparsum notation manuscripts at Istanbul Atatürk Library ` has been prepared to transform all compositions in this book into today's notation system. A preliminary knowledge concerning the history and the development of the notation has been given as introduction. In chapter II, history, transcription and the use of Hamparsum notation in Turkish Music have been presented. The detailed knowledge about manuscripts which formed the theme of this thesis has been given in chapter EI. And in chapter IV, a list of the compositions in manuscripts and the transcriptions of the notations have been taken part. An acquirement concerning manuscripts and the determinations have been given in conclusions. The original photocopies taken from manuscript also exist in appendix section. Humankind needed to write down the voice which was used to communicate as the form of letters. In the same manner, they felt to write down a melody on the paper so, the first studies in written music arose and `the note`appeared in a primary form. `The note` which was simply used to remember a known melody, become today's formation after completion its development in the wide period of time. A note is a Latin origin word which means `sign, mark` as a vocabulary. But in music, syllable-letter or various figures which have been used to express a musical voice in a writing form had been called a note. It has been accepted that the past of the notation systems were as older as the alphabets. The first tried way in writing of the notation down was to put some signs on the letters of the words in order to remember the voices. Those kind of signs have been seen in the tablet of Sumers and antique inscription of Greeks. V1UIn the centuiy of VI. B.C., before the books on music written in Greek, a kind of musical notation had been formed in Near EastGreeks used two musical notation systems which one was for vocals and the other one was for instruments. In musical piece for vocal, they put a letter on each syllable to determine its velocity and, a special sign on that letter to specify the duration of the sound. From the beginning of music to this time, there are two trends of musical notation in western: alphabetical and symbolical notations. First one is for the theorists who held the ancient Latin and Greek theories again. The other one caused to born of musical notations still using today. First `neuma` examples have been seen in the text of `Holy -Bible` but, they did not definitely make clear the velocity of sound and the rhythm of the musical motifs because they were supposed that known by performers. They were simply the reminder signs for the performers. Later on, in case of necessity, number of those simple signs have been increased and, put on upper or lower of the page depending on the velocity of the sound (diastematic- interval in notation). In the course of time, it had been achieved today's system by adding staves to those signs in order to name the notes. Furthermore, neumas were still insufficient to determine the durations even though they were formed as square. But during the middle ages, by means of the invention of clock proving to divide time in equal parts, concept of tempo in music had been established. In other words, the note became sufficient for the musicians to play a musical piece that unknown by them before. Since then, notation of music has been as perfect as writing down of a native language. First notation studies in Turkish Music had been seen after they became muslim. Muslim musicians had a notation system in the century of DC. anyhow. IX tokümafTOlSyok herke&>This first known musical notation was an Ebced note,a kind of alphabetical note that was derived from letters. Certain knowledge about the origin of ebced note could not be found out. But the earliest document writing down by using this notation was `Risale fi Hubri Telîfil - Elhan` from Al-Kindî in DC. century. Kutb-ı Nâyi Osman Dede (D. 1730) made some changes and, used this system in the period of Ottomans. Romanian origin prince Dimitrius Kantemir (Kantemiroğlu, 1673-1723) developed the notation system in which letters derived from sounds taken from their names. He wrote down a theory & notation book which title was `Kitâb ül İlm ül Mûsikî Alâ Vechil Hurufat` in above mentioned form.. Abdülbâki Nasır Dede (1765-1821), grandchildren of Nâyi Osman Dede, to present Sultan Selim ül (1761-1808), improved a new notation system based on Ebced notation by making some changes. Polish origin Ali Ufkî Bey ( Alberto Bobevio Leopolitano Bobowski, D.1675? ) was the first who used western staves in Turkish Music. In accordance with Ottoman alphabetical system, he wrote down the notes from right side to the left in an anthology `Mecmua-yı Saz u-Söz` including many Turkish Music compositions. In Turkish Music, before introducing of western staff notation, between all those systems, Hamparsum notation system was the one widely used. Guiseppe Donizetti (17887-1856?), who came from Italy to give education in Muzıka-yı Hümâyûn (established in 1828), firstly changed whole existed notes writing down in Hamparsum's system to western staff notation. So, he taught western staff notation to his students. Since western staff notations were not sufficient to complete need of the sounds existed in Turkish Music, forming of adequate notation studies pioneered by Hüseyin Sadettin Arel (1880-1955), Rauf Yekta (1871-1935), Ali Rıfat Çağatay (1869-1935)and Suphi Ezgi (1869-1962), have been continuing adding various lines and figures to those notes. Hamparsum notation is a note writing system improved by Hamparsum Limonciyan (1768-1839) who was encouraged and demanded by Sultan Selim in in the end of XVHI. century. In Hamparsum notation system, a staff is not necessary. There are seven symbols to represent seven basic sounds. The sounds one octave upper ( high-pitched ), are determined by putting a short line under each of those seven basic symbols. In one octave, there are fourteen sounds and, only lines of sharps exist, flats are not used. Durations of sounds are indicated by drawing a short line or circles and dots on the symbols representing the note. Rest signs are simply used as their existance. Two trends of Hamparsum notation which one was normal and the other was hidden had been used. Seven symbols (Pou, Ye, Ve, Pe, Ha, Ne, Ba) indicating the sounds of one octave in Turkish Music are classified by starting from yegâh. Upper and lower eights (octaves) has been explained by adding short lines under the symbols indicating seven basic sounds of Hamparsum notations. But, those lines are added to the body of the symbols instead of bottoms when explaining Gerdaniye, Muhayyer, Tiz Segah, Tiz Buselik and Tiz Çargâh. To explain the sound between two basic sounds, symbol (~) is placed in front of the basic sound symbol. That does not indicate if being high- pitched is diatonic or chromatic. Comas of sharp and fiat can only be understood by examining style used in makams. XISome differences in use are noticeable because there are more sounds in Turkish Music. Acem Aşîran, Geveşt, Zirgüle, Kürdî, Buselik, Hicaz, Hisar and upper and lower eigths with comas of these keys have been considered as high-pitched of basic sound. Since there is not any sign like flat ( b ), sharp ( Jt ) and natural ( / ) in Hamparsum notation, there is not any symbol in front of the note in accordance with performing of makam. Transposing in this notation system is very difficult because staff is not used. Briefly, except for reminding compositions to the musicians who know Turkish Music well, Hamparsum notation system has been incomplete and insufficient. Nr: 1637 Hamparsum notation manuscript has been transfered from former Library of Municipality (today's Public Museum) in Bayezid to Istanbul Atatürk Library. There is not any knowledge about who donated or where it came from. External dimensions are 275 mm x 200 mm.(length x width) but, internal dimension is not clear. It is registered in inventory records as; manuscript of municipality 0.86, cataloque nr: 464, subject: music. Notation book consists of ruled papers and distance between lines are variable. Notes had been written using ink coloured black, red and blue. The binding of the manuscript is green. There is a lyre figure in gilding embossed oval on the front cover. Behind of the first page, there is a human figure which is not visible enough. It can be considered that, that figure might be added subsequently because it did not cover the lines. Right side of this figure,there is a kind of index written using black coloured ink indicated the makams and the place of the compositions. XllThe rhythmic styles and their tempo accents had been written by using blue ink on one of the last pages. Paginations had been placed on upper right side of each page by using Arabic numbers. To create mirror image with ones on upper sides, there are reversed written numbers on the lower part of each page. The book ended on page number 491 depending on this page numeration system. Skipping over some pages and blank pages have been determined. It can be considered that blank pages were for aiming to gather the compositions which were in same makam. It is clear that the tearing some leaves off caused skipping some pages over for instance after page nr: 69, nr:80 and 71 follow up respectively. This is the result of being inattentive during numeration. Thus, page nr: 76 and 77 had been lost. Since the notes were held reverse while writing, embossed oval on the cover remained behind. Miscellaneous coloured inks like black, blue(sometimes light blue, purple-blue and dark blue), red had been used.Great care had been taken to record the compositions arranging in rows according to their makams. Scribbles and corrections made with pencil on some notes indicate that, the manuscript was examined by someone. The lyrics of one or two compositions, had been added to the blanks at the bottom of the notes by using a pencil in the same way. Those additional writings are in Ottoman Turkish and, their characteristics are differrent from those written using ink.The note had been written down on the last page nr: 491 as `bahusus` by using a pencil. The notes had been written with Normal Hamparsum Notation and, are readable and in line because of ruled paper. In Hamparsum system, instead of known figure, current `segno sign` had been used as repeat sign. Lyrics are quite readable and cursive writing. xiuThere are 271 compositions in the manuscripts in all. Between those compositions, Saz Semaileri, Yürük Semaileri, Peşrevler, Şarkılar, Besteler, one or two Kantos, Türküler (Folk Songs) had been taken part. Saz Semaileri had been noted down as `Peşrev Semaisi` and the Folk Songs had been noted down as `Şarkı`. There are some compositions written only the notes but without any knowledge, right along with compositions that their composers never indicated. `Meyan` and `Aranağme` parts of them and repeat signs of some compositions had been indicated. Nearly whole of the compositions in the manuscripts are known by notes and, performed today. But lyrics, notes and the composers of some compositions are different from today's known styles.. The compositions had been chosen from the makams of Şevkefzâ, Sabâ, Dügâh, Ferahnak, Hüzzâm, Hicazkâr, Nihâvend, Hicaz, Rast, Uşşak and Hüseynî. One Sabâ Zemzeme composition between the makams of Sabâ and Dügâh, one Eviç composition from Ferahnak makams, one Araban composition from Hüzzâm makams and one Sazkâr composition from Rast makams have been taken part in the notation book. Those had not been indicated in makams list on first page. XIV