Mildan Niyazi Ayomak`ın hayatı ve eserleri

Abstract

`Mildan Niyazi Ayomak'ın Hayatı ve Eserleri` konulu bu çalışma yüksek lisans tezi olarak hazırlanmıştır. Mildan Niyazi Ayomak hakkında yeterli kaynak olmamasına rağmen hayatı, çalışmaları ve eserleri, araştırılarak elden geldiğince ortaya çıkarılmaya çalışılmıştır. Mildan Niyazi Ayomak'ın hayatı, birkaç kitap ve ansiklopediden, nazari çalışmaları sahibi olduğu Nota Mecmualarından, eserleri ise bazı özel arşivlerden ve yine Nota Mecmualarından toplanarak biraraya getirilmiştir. 1887 yılında Safranbolu'da doğan, Mildan Niyazi Ayomak, Türk Müziğiyle çok küçük yaşlardan itibaren ilgilenmeye başlamış; Sultan Hamid devrinin, siyasi zorlukları yüzünden, Mısır-Kahire'ye firar ederek orada da musiki eğitimine devam etmiştir. 1925 yılında, İzmir'de açtığı musiki okulları, 8 yıl (İstanbul'a gelinceye kadar) faaliyetlerini sürdürmüştür. 1933 yılında, İstanbul'a gelen Mildan Niyazi Ayomak, Cağaloğlu'nda İstanbul Musiki Birliği ismini taşıyan, bir musiki okulu daha açmış, fakat bir süre sonra bu musiki okula da kapanmıştır. 1933-1935 yıllan arasında, Mildan Niyazi Ayomak `Nota` isimli bir musiki mecmuası çıkartmıştır. Otuzyedi sayı yayınlanan bu mecmualar, eksiksiz olarak (bütün bölümlerinin alınmaması kaydıyla) değerli hocalarımızın özel arşivlerinden elde edilmiştir. Bütün bunlardan başka, `Türk Musikisi Tedrisi` isimli bir kitap yazmışsa da yayınlayamamıştır. Mildan Niyazi Ayomak en büyük hayali olan; Türk Müziğinin daha kolay öğrenilebilmesi hususunda; sistem üzerinde bir takım değişiklikler yaparak, bir inkılap gerçekleştirmek istemiştir. Yaptığı bu değişiklikleri, Nota Mecmuasının, Musiki Özleri bölümünde ele alarak açıklamaya çalışmıştır. Yapılan incelemelerde, Mildan Niyazi Ayomak'ın, o gün için kullanılan Türk Müziği nazariyat sisteminin yerine değişik bir sistem kullanmadığı saptanmıştır. Bununla beraber Türk Müziğinin gerek öğrenimini, gerekse icrasını kolaylaştıracağına inandığı ve temel yapısını, kullanılan seslerin herbirini sesli, sessiz harflerle ve rakkamlarla sembolize etmeye dayandırdığı, birtakım değişiklikler yaptığı tespit edilmiştir.Bir keman sanatkarı da olan Mildan Niyazi Ayomak'ın elde edilen kaynaklardan seksen civarında eser bestelediği ortaya çıkarılmıştır. Bu seksen eserden ancak otuzbeş tanesinin notası bulunmuştur. Mildan Niyazi Ayomak'ın bugün akıllarda kalan, bilinen ve notaları kolayca bulunabilen eserlerinin sayısı sadece iki iken (1. Rast Aksak Şarkı `Yaşlı gözümü kuruttum bu gece`; 2. Hicazkar Aksak Şarkı `No'lur bir an bana olsun vefakâr`), bu çalışmada 35 eserin daha notası musiki alemine sunulmuştur. 24 Nisan 1947 yılında, İstanbul Belediyesi Levazım Ayniyat Müdürlüğü'nde görevli iken, 59 yaşında Cağaloğlu'ndaki evinde ölen Mildan Niyazi Ayomak, Beşiktaş'ta Yalıya Efendi Dergahı Haziresine gömülmüştür.

This study with title of `MİLDAN NİYAZİ AYOMAK, his life and his wonks` has been prepared as an High Licence Thesis on the Field of Turkish Art Music on Art Branch of Music on Main Art Branch of Fine Arts, near the Institute of Social Sciences of the Technical University of Istanbul. Mildan Niyazi Ayomak is a theorist, educator an composer of Turkish Art Music as well as a violonist. The continouing lack of written sources of Turkish Music which already has been transported towards academical fields, has rendered some what difficult, even the obtention of information concerning the life of Mildan Niyazi Ayomak who lived in the end of the XTXth century and in the beginning of the XXth century. The aim of this Study, in spite of absence of sufficient sources is to explore with more healthy manner the life of Mildan Niyazi Ayomak, to examine his theorical studies and works and to make possible to add new works to his existing known works and to clarify the matters related with him which cause to feel their lacks, within the limits of the possibilities. Mildan Niyazi Ayomak was born in 1887, at Safranbolu. As from his primary school period he has been interested with the music and due to political difficulties of Sultan Abdulhamid's reing he ran away to Cairo-Egypt where he continued his music education. The music schools opened by him in 1925 have continued their activities for 8 years (until coming back to Istanbul). While being in İzmir, Mildan Niyazi Ayomak has received the support df Saadettin Arel. In 1933 Mildan Niyazi Ayomak has come back to Istanbul and has open a music school with title of Istanbul Musical Association but after a certain period of activity, this music school was also closed. Furthermore, Mildan Niyazi Ayomak has published a wwekly music magazine with title of Note, between the years 1933-1935. This magazine which was been publisteh as a collection of thirty seven issues has been viiobtained without any deficiency from the private archives of our estimable teachers (under the reserve of not taking the whole related sections). Each issue of the magazine Note which has been published from 05.04.1993 was approximatively composed of 20-25 pages has been prepared in form of five principal sections. These sections were; Story of Music; Essences of Music; Most Beatiful New Works; Bigraphies and Photos of Renown Mister and Lady Composers, Musicians and Singers; Lessons of Solfeggio, Lute and Violin, Works of New Composers. But wehn well examined, it cam be understood that other sections as Music, Syllable, Word and Poem; Photos of Contemporaneous Music Groups; Life Stories of Assorted Musicians; Musical Revolution and Explanation were also existing. As the magazines were been designed in form of five principal sections, it was thought that as by removing the covers of the magazines, five separatemanuals would be obtained. For this reason, the page numbers of the sections were been commenced from 1 and the continuing section numbers were been continued in later coming issues. Mildan Niyazi Ayomak has exprimed in his articles taking place in the magazine Note that Turkish Music has loosen its brilliance in subsequent times after Dede Efendi, that well acknowledged musicians have became rarers and that being full of care of material profit has been harmfulness for this style of music. Furthermore, as by stating that the education of Turkish Music was considerably difficult and was requiring almost the spending of an entire human life, he declared that he was fixed as his main aim the realizing of a revolution in order to rescue the Turkish Music from the whole said problems. Mildan Niyazi Ayomak both encountered with these dificulties and in the section `Music, Syllable, Word and Poem` of the magazine Note published by him in order to realize a certain revolution in Turkish Music` area, he examined carefully the poem which is the integral part of the music, together with Turkish, Arabic and Persian words. In the section `Lessons of Solfeggio, Lute and Violin` he gave place to lessons relatives with the playing education of these instruments and in the section `Essences of Music` and in subsections as `Explanation and Reflections of the Revolution` which was been annexed to said section, he tried to explain some modifications which personally he judged capables of providing facilities on the theoretical system of Turkish Music. The above said modifications on theoretical system of Turkish Music have been tried to be discovered with their main lines as by taking these from the section of `Essences of Music` of the magazine Note published by Mildan Niyazi Ayomak. As a first step, Mildan Niyazi Ayomak examined the tone system of the Western Music and subsequently as by making reference to frequency calculations he began to examine the theoretical system of Turkish viiiMusic and exposed the main differences beween the two systems. He stated that the tone system of the Western Music had making use of 12 tones in one octave, while the theoretical system of Turkish Music had making use of 53 tones in one octave. Mildan Niyazi Ayomak stated that the most important of the modifications performed on the theoretical system of Turkish Music had been explained under the title `Music Number` and he pointed out that without this matter would not be well and sufficiently understood, one could never understand any modification made in the generality of the system. As the result of the examination it has been stated that Mildan Niyazi Ayomak had prefered to symbolize the tones using numbers, vowels and consonants in state of attributing names to tones. He thought that this kind of symbolization would be capable of forming the key point of a system which wold avoid all of the problems related with the education and the performance of Turkish Music. In order to symbolize the tones used in Turkish Music, Mildan Niyazi Ayomak stated that it been possible of making use of fifteen numbers, i.e. 1-2- 3-4-5-6-7-8-9-10-11-12-12-14-15; fifteen consonants, i.e. s-v-m-r-n-t-y-p-z-ş- k-1-ç-f-j and fifteen vowels, i.e. oı-aı-ı-o-a-ö-u-ü-e-aa-aö-i-öu-uu-uü. The 15 vowels used in this system are formed of the combinations of the 8 vowels of the Turkish Alphabet taken in groups of two letters as oı-aı-etc. Mildan Niyazi Ayomak who stated the existence of a certain problem of tuning in Turkish Music, expressed that the tone `Re` of the diapason should be considered as a tone of `La` and that one octave was formed of 53 `komas` (one of nine equally divided parts between two consecutive whole tones in the Turkish Music system 24 unequal intervals). Furthermore he expressed as `Minik` each one of nine equally divided parts between two consecutive whole tones. Mildan Niyazi Ayomak who stated that each two consecutive whole tones have been formed of nine `Komas` and while expressing that each one of these have been used in Turkish Music, formed nine separate signs of (sharp) diesis and nine separate signs of flat for each one of the nine `Komas`. Furthermore, he symbolized the sign of sharp by the letter `i` and the sign of flat by the letter `e`. Mildan Niyazi Ayomak who stated that the octaves used in Turkish Music have been formed of two `Dörtlü` (`Four`) and one `Bağ` (`Tie`) and called as `Dördol` the first four notes at the low side of the octave, as `Bağ` IXthe interval between the fourth and the fifth notes and as `Dördüs` the four notes at the high side of the octave. Mildan Niyazi Ayomak stated that in accordance with the modifications achieved in the theoretical system of Turkish Music, expressed that `Dizi` (`Row`) and `Makam` (`A concept of melodic creation which determines tonal relations, tessitura, starting tone, reciting tone and the finalis as well as an overall indication of the melodic contour and patterns. Its closest counterpart in Western Music is the medieval concept of mode.`) had been two different concepts. For the naming of the `Dizis`, as a first step he determined the numbers expressing the `Koma` values of the intervals forming the `Dizis` and subsequently he made groups of two letters corresponding to these numbers, the first letter being a consonant and following the order of one vowel and one consonant then formed the name of the `Dizi` as by making use of these letters. As by using this system, Mildan Niyazi Ayomak formed the following names for the `Makams` used in the theory of Turkish Music : Rast Makamı ZÜMEZÜM Uşşak Makamı TÜZEREZ Hicaz Makamı MİMEREZ, ete. It was been determined that the modifications made by Mildan Niyazi Ayomak in order to provide simplifications, were containing very much and mathematical details and so formed a system very difficult for being well understood. Mildan Niyazi Ayomak stated in the latest issue of the magazine Note, that being mono-tonal, Turkish Music could not be used and that in state of this, Western Music was been used. He has also prepared a work with title of `Education of Turkish Music` but could not publish the same. Mildan Niyazi Ayomak has also prepared a `Violin Method` and it has been determined that the said work was consisting of one of the methods formed in time of completion of the section `Lessons of Solfeggio, Lute and Violin` of the magazine Note. It has been determined that Mildan Niyazi Ayomak had composed approximatively 80 works from various sources. From these 80 works, only the notes of the 37 works could be find. Other than the two known works of Mildan Niyazi Ayomak, the notes of the other 35 works have been presented to musical universe. In result of the examination of the works of Mildan Niyazi Ayomak, it has been determined that he had generally composed in `Şarkı` (`Song`) form as by using always little rythmic patterns.Other than the `Şarkı` form, Mildan Niyazi Ayomak also composed in various forms as `Saz semaisi` (`An instrumental form in four movements, usually played following a 'Fasıl' `), `Peşrev` (`The best-known form of music, usually of four parts, used with long rythmic patterns and played at the beginning of a classical musical performance`). March and `Köçekçe` (`Tune or music used while a man is dancing`) and had repeated several times the melodies used in his works. Some of his works are reflecting the musical notes of Turkish Music, some others are reflecting the melodies with large intervals inspirated from the effects of the Western Music and some others are reflecting the melodies from Turkish Public Music which is the music of the uneducated people having many special characteristics but the same system and technique as Turkish Art Music. His works with two, three and four tones which can be considerated as the formers of multitonal works of Turkish Music have also been found. In general Mildan Niyazi Ayomak had composed as by being inspired from his liven events and also had made use of as text for music, of the poems that he had wnote also as by being inspired from his liven events. In some of his works Mildan Niyazi Ayomak made use of the poems written by Tevfik Fikret and Ziya Gökalp and hed always stated the name of the poet where he had made use of the poems of the other poets. Mildan Niyazi Ayomak who gave special names to some of his works, composed in general on the theme of love. Mildan Niyazi Ayomak is also a violonist but any inscription on this subject could not be obtained. Mildan Niyazi Ayomak who deceeded on 24 April 1947 in 59 years old, when being in charge at the Direction of Quartermaster General's Department of the Municipality of Istanbul has been intered at the Treasury of Yahya Efendi Dergahı at Beşiktaş.