Osmanlılardan Cumhuriyet dönemine kadar Türk musikisi eğitim kurumları

Abstract

ÖZET Bu çalışmada Osmanlı İmparatorluğu döneminden Cumhuriyet dönemine kadar mûsikî alanında eğitim veren kurumlar ele alınmıştır. Osmanlı hanedanında eğitim çok önemliydi. Sarayda padişahlar, sultanlar, şehzadeler ve hatta kalfalara kadar mûsikî eğitimi veriliyordu. Mûsikî eğitimi veren kurumların başında Askeri Mûsikî Kurumları` gelmektedir. Türkler askeri mûsikîlerini bütün Asya ve Avrupa ile Kuzey Afrika'ya kadar yaymışlardır. Osmanlı Devletinde Mehter mûsikîsi Batı ile ilk etkileşim aracımız olmuştur. Osmanlılarda yenilik hareketlerinin başlamasıyla birlikte mûsikî alanında da bir takım değişimler ortaya çıkmıştır. Bu değişimler Türk mûsikîsi eğitimi veren kurumları olumsuz yönde etkilemiştir. Bu kurumların başında ENDERUN gelmektedir. Enderun akademik olarak eğitim veren ilk kurumdur. XIX. y.yılın sonlarında batıya bağımlılık bu kuruluşun dağılmasına neden olmuştur. Osmanlı imparatorluğunda batılılaşma isteği doğrultusunda kurulmuş olan Muzıka-i Hümâyûn sayesinde saraya batı müziği girmiştir. Batı müziğinin bazı padişahlar tarafından ön plana çıkarılması Türk mûsikî kültürünün yozlaşmasına neden olmuştur.

SUMMARY In this study it is intended to summarize the conceptions, the establishments and the working procedures of the Military Music Schools taking always a leading position among all other institutions in which Turkish music education had been merely given from the early years of the establishment of the Ottoman Empire up to the first decade of the Republic of Turkey. In the second chapter of this study, the above mentioned schools are thoroughly brought to a close investigation. The first ones called `Tuğ Bands` of the military music schools were the pioneering samples of the military music bands of which their existence dated back to the time of the Huns. According to the information it is found for the first time in the `Divari-i Liigat-it Turk` written by Mahmut Kaşgarî in the XI th century in Baghdad, the name `Tuğ` was said to be given to the banner (Sancak) and the drumhouse (Tabilhane) traditionally beaten (Nevbet) depending on the circumstances at the presence of the Turkoman People. The `Tuğ Bands` were a symbol of the liberty, the existence of the state and the assignment and also accepted as a certificate of power. The `Tabjlhane-drumhouse` which was the second school in the military music institutions, was a military music establishment considered as a sign of sultanate officially and militarily in Muslim and Turkish states. The Turks had their military music spread out all over countries in Europe, Asia and North Africa. Af first, the `Tuğ Bands` became `TabıIhâne=durmhouse` originated from the word (Tabl: drum) and then another word `Mehter: music bands` and `Mehterhane: Music bandshouse` took its place stemming from the Persion word `Nakkare: torn torn` turned into (Nakkarhane: torn torn house) replacing the first two. Mehter music in Ottoman Empire had became the first means of interaction with western Countries. In the Ottoman State, the military music establishment belonging to the Sultan was called `Mehter-hâne-i Hümâyûn: Royal Music Bandshouse` and others were named `Esnaf Mehterleri: Tradesmen Musicbands`. VIIn the palaces of the `Hükümdar: King`, `Mehter` music was performed in centain times that was known as `Nevbet. The tradition of `Nevbet` beating had been kept on going 3 or 4 times in a day in the times of war and peace. This tradition had independently lived spreading for centuries in the Ottoman Empire. For instance, while the state organization had been broadening in the Ottoman Empire, the `Mehterhane` were not forgotten, as it was considered as a part of Janissary Corps (Yeniçeri Ocağı). Sultan Man mu d II, while dispersing the Janissary and Kapıkule Corps, in June 15, 1826, also closed down `Mehterhane` together with the first two. Instead, he established Military Music Band (Askeri Muzika) in the real sense of the western conception. In 1911, Ahmet Muhtar Pasha re-established this institution with the new name: `Mehter-hâne-i Hâkaanî: Royal Music Bands` and together with the Republic it was again abolished. Later in 1952, today's Mehter-hâne was founded. Mehter-hâne was a continuation of `Tabl-hâne Bands` which were special to Muslim Turkish and Asian States. The word `Mehter` is a word originating from Persion language and it came into existence from the word `Mih-ter` that means `The biggest, the almightiest`. `Tabl-ü alem Mehterleri: drum and flag Music Bands` were composed of `Alemdar: standard bearer` who guarded the banner and `Davul = Drum` mehter and their staff were considered as governmental staff. The musicians conducting Mehters were named as `Mehterbaşı Ağa=executive chief of Mehter`. In `Tabl-ü Alem-i Hassa = bodyguards' flag and drum` music bands in another word `Saray Mehterleri = the palace music bands`, the word `Hassa = bodyguard` was in particular used to differ them from others. Musical education to the Candidates for `Mehter` had normally been given in the `Enderun = gynaeceum`. Being defferred from the palace mehters, the staff of the `Esnaf Mehterleri = tradesmen music bands` which had also known how to perform the music for intertaintment were not on a permanent scheme or salaried, they were only ordinary staff consisting of tradesmen. VIIMehter' s music instruments can be classified in three groups: l.Wind instruments a. `Zurna = pipe`: There are two kinds of this wind instrument: The first one is `Kaba Zurna = Rough Pipe` and the second one is `Cura Zurna = Cura Pipe`. It is one of the oldest wind instruments of the Asian Turks. The one playing (Zurna = Pipe) is named `Zurna-zen = Piper`. b. `Boru=horn` : According to the old resources, it is known by the names `Bori, Borgay`. Some words like `Burgu, burgu` are the roots of it. Araps had given the name `Nefir: pipe made of horn` to it. This wind instrument with a curved neck is said to be known by the name `Nây-i Turkî = Turkish reed pipe`. c. `Nefir: This instrument being in the same family of Zurna is made of horn and the ones who play it are named `Nefirî`. d. `Klârnet=Clarinet` and Kurrenay: Clarinet, after the establishment of the `Musikâ-yı Hümayun = Royal music School` had come to our country and was not essentially the instrument for Mehter. `Kurrenay`, originally being an instrument from Iran, had been played in the Ottoman Mehterhane. 2. Percussion Instruments a. `Kös = Kettledrum`: The other names of (Kös) are Kûs, Kûs-i Hakanı (Royal Kettledrum) and Kûs-i şâhî (The Best Kettledrum). The ones playing (Kös) are named `Köscü, kös-zen = kettledrummer`. This instrument is always known by the name (Kös) in the Ottoman Empire. b. `Davul = drum` : It is one of the oldest music instruments used by the Turkish People and also known by the names Davıl, Tavıl, Tabil and Köbürge. c. `Nakkare = torn torn` : Though it is orginally an Arabic word, it is also known in China with a resemblant name `Nakola`. The name `Nakkâre-zen` was given to the one who played Nakkare. d. `Tabıl-bâz` : It is the one little bit bigger than Nakkare. e. `Def = tambourine` : It is only used in the `Esnaf Mehterleri= Tradesmen Music Bands`. f. `Zil = bell` : In the beginning it was known with the Turkish originated words like Çerik, Ceng and sane. Later, the foreign originated word `Zil` had by time taken their places. The names `Zilci, zil-zen` were given to the ones who ringed bells. VIIIg. `Çevgan` : It is a kind of hooked metal fork with some little silver bells dangling at the end of the chains. The name `Çevgânî` was given to the one who played Çevgan. The Performing Order of the Mehter Music: `Ağa` was the name of the person standing just before the group of instruments and in this position Mehter was conducted by him. The Composers of the Mehter Music: 1. Nefiri Behram Ağa 2. Emîr Hac 3. Dağı Ahmed Çelebi, of Edirne 4. Zurna-zen İbrahim Ağa 5. Salak-zâde (Hemdemî Mehmet Çelebi) The Sound System of the Mehter Music: The works of the Mehter Music available today show us that the sound system of the Turkish music is similar to the one laying down in the base of this kinds of music. The importance given to the Zurna is a proof of this judgement. The Repertoire and the rhythmic element in the Mehter Music: In the XVIII th century, Hekimbaşı Abdiilaziz Efendi gives us to most detailed information about the methods used in the Mehter Music. The methods namely Berefşân, Hafif, Ceng-i Harbî, Çenber, Devr-i Hindi, Devr-i Kebîr, Dü-yek, Fâhte, Fer, Sakil, Semaî, Sofyan, Dar-beyn (Zarbeyn), Darb-ı Fetîh (Zarb-ı Fetîh) are mostly used. The repertoire of Mehterhane are studied under those headings given below: 1. Battle Tunes (Harp Havaları), 2. Nevbet Tunes (Nevbet Havalan) 3. Tunes of cavalry (Atlı Askere Ait Havalar), 4. Other Military Tunes (Diğer Askerî Havalar), 5. Ceremonial Tunes (Tören Havaları), 6. Special Tunes for Mehterhane (Mehterhaneye ait özel havalar), 7. Works of the lofty Art Music (Yüksek Sanat Mûsikî Eserleri), 8. Musical Works of instrument poets (Saz Şairleri Musikî Eserleri) IXThe composition forms of the Mehter Music: The composition forms are classified in two: Instrumental and Vocal. The huge amount of instrumental works are `Peşrev = overture` and instrumental semaî. Insrumental Semats are longer and simplier than overtures (Peşrevler). Works of vocal music consist of the works found in the repertoire of the classical Turkish Music. 1. Acem 2. Bayatı 3. Buselik 4.Çargâh 5.Eviç 6. Gülizar 7. Hüseynî 8. Irak 9.Kürdî lO.Mahûr 11. Muhayyer 12. Neva 13. Nihavend 14. Nikrîz 15. Penç-gâh 16. Rast 17. Reha Tülervah 18. Rehavî 19. Sabâ 20. Segah 21. Sûnbûle 22. Tahir 23. Uşşak 24. Uzzal 25. Zirgüleli Hicaz The one `RAST` of these tunes is accepted as the basic tune for all. The Influence of the Mehter Music On Europe: In the most splendid and pompest period of the Ottoman Empire, Istanbul was always drawn the attention of the western countries, considered as a city of legends and became a much frequented place for all interested people. The first interaction had started in the XVI th century between the Ottoman State and Europe and Eurapean Music was mostly influenced in the field of the military music. In the XVIII th century, the same Mehter organization was established in Austria. These years also coincided with the composition of `Saraydan Kız Kaçırma: Kidnapping a girl from the palace` opera by Mozart. The Final Situation of the Mehter: Mehters were abolished in 1826 parallel to the dispersion of the Jannisaries by Mahmud II in the event which was called `Vak'a-yi Hayriyye: blessed event`.Together with the establishment of `Miize-i Asker-i Hümâyûn: Royal Military Museum` by Ferit Ahmed Pasha and with the contributions of Celâl Esat Arseven, they both tried hard to have it survive again. After the establishment of The Repuclic of Turkey, it was again abolished by the Defence Minister Zeka i Apaydın. Because of the historical characteristics it was re-established in 1952. In the third chapter, it has been dealt with an investigation of the music institutions being started to be structured together with all renovation movements in the Ottoman Empire until the first decade of the Republic of Turkey. The most significant one of these institutions was the palace school called `Enderun`. The Ottoman state, while having a fast progress in the way of being a great empire, had made a lot of very important changes in its structure so the Ottoman palace had turned in the real sense into an official/governmental institution. It had certainly been felt necessary to have some people around to meet the needs arisen in there. In the framework of this thought a new military system called `Janissary` had come into existence. The establisnment of the royal school called `Enderun` had also been constructed on this reality. It is somehow claimed that this school had been founded by the Sultan Murad II. Fatih Sultan Mehmet, after having conquered Istanbul extending this school which was not accomplished by his father, established a new school called `Enderûn-i Hümayun: Royal Palace School`. As from the year 1833, it had been desired to have gained the European identity by changing the education system and so, Enderun had begun to lose by time the importance and the value of itself. Becoming dependant on the western countries towards the end of the XIX th century had caused this establishment to cease to exist. This situation had kept on going until 1908 and from this day onward the school of Enderun had been closed down for good. The children of the people very close to the palace used to be accepted as students to the school `Enderun`. The key structure of this school can be summarized as there, in Enderun, were 7 separated rooms mentioned below: 1. Small Room 2. Big Room XI3. Doğancı Room 4. Seferli Room 5. Cellar Room 6. Treasury Room 7. Private Room The education had been first started in the Seferli Room of Enderun in which two kinds of education had been given while daily education being given by the learned people and the art masters, some military education used to be given under the supervisison of officers in the other time of the day. There was always a very tough discipline applied in Enderun and it was not possible to forgive any offence against principles. The Biggest offence was laziness and/or not to grow interest in any subject. The ones who had been punished would no longer be able to get joined with the others and stayed there. The Royal Music School `Muzıka-yı Hümâyûn Mektebi` Muzika-yı Hümâyûn Mektebi was the one of the five military institutions established just after the new system military army `Mizâm-ı Cedîd`. This school was opened in the year of (Hicrî 1247-Milâdî 1831) in the rooms annexed to the Beshiktash Palace. In this school western and eastern mucis were taught to the sutudents. With the aim of having the systems of the music to be developed, the Sultan Mahmud II had some music teachers brought from Italy. In 1827, Muzika-yı Hümayun had been established in Tashkishla (stone barracks). Here had been for the first time founded the music band and Manguel assigned as the conductor. In 1828, Guisseppe Donizetti had been invited. Donizetti had continiously stayed in this post for 28 years and he was set about of teachig western notations making comparison with Hamparsum notations already known by his students of which he was aware. The aim of Donizetti was to make a new movement into the symphonic music after having created a reasonable means in the Turkish music. An artificial European atmosphere had been by time settled in the Ottoman Palace, a music band had been even established in the Harem and also Sultan Efendies had adapted themselves into this tendency. XIIEventually, the music school (Muzika Mektebi) had been fully established in the year of 1863. After the abolition of the sultanate together with the declaration of the rebublic, all classical Turkish musicians had been moved to Ankara and permanently put on duties in the Presidential schemes. In the Second Constitutional Era (1908- II. Meşrutiyet) the organization of the Palace had been by time become smaller in size. Parallel to this happening the Royal Music Band (Muzika-yı Hümâyûn) had also been fallen into the same declining position as the central military music band and the palace archestra had been. With the purpose of filling this gap, It was felt that a public school of music (conservatory) in the western style was needed. In the direction of realizing this purpose the State Conservatory namely `Dâr-ül Elhân = the Music House` was inaugurated in 1914. A year earlier than this, in the year of 1913, the Municipality of Istanbul had already founded a city conservatory under the name of `Dâr-ül Bedâyî = House of Perfections` with the branches for theater and music in order to meet the cultural needs of the people. But unfortunately this conservatory was also closed down on Mach 14, 1916 just because of the bad conditions of the war that the Ottoman Empire was in. A year later, on January 10, 1917, the first official music school known by the name: `Dâr-iil Elhân` basically depending on the scientific methods and supported by the satate was opened in Istanbul. Abdiilkadir TORE was the person who had first taken the initiative in establishing this music school. The section for men of this school was abolished in 1918 and the other section for women had been for awhile gone on existing. Dâr-ül Elhân was reorganized on September 14, 1923 and then, on December 9, 1926 the education of the Turkish music was discontinued and Dâr-iil Elhân by being renamed as `The Conservatory of The Istanbul municipality` was sometime later connected with the Municipality of Istanbul. After having been given an end of the Turkish music education in the conservatory only `the Classification and Fixation Committee of the Oriental (Turkish) Music` that was deciding how to classify and fix the notations was allowed to work. In 1943, H. Sadettin Arel was appointed to the post as the administer, of the Istanbul Municipality Conservatory. Some people being very fond of the Turkish music had established some societies under the name of music houses (Meşkhânes) working in different places. XIIIAfter the abolition of Dâr-iil Elhân, some music societies founded are as follows: TERAKKÎ-İ MÛSİKÎ CEMİYETİ: (The Advenced Music Society): It was established in 1922. The education had been run under the supervision of the National Education Ministry and it was closed down in 1931 by order of the Ministry. DÂR-ÜL TÂLİM-İ MÛSİKÎ CEMİYETİ: (The Society of the Music Teaching House) This society which was one of the most fruitful of the Music Houses (Meşkhânes) was inaugurated in 1916 and ceased to exist in 1931. « a DAR-UL MUSIKI-I OSMANI CEMİYETİ: (The society of the Ottoman Music House) It was founded in 1908 as a society and turned into a school in 1912 and in the years of Balkan war it was annulled. DÂR-ÜL FEYZ- İ MÛSİKÎ CEMİYETİ: (The society of Musical Enlightenment House) It was established in 1915 and then transformed into the Music Society of Üsküdar. ÜSKÜDAR MÛSİKÎ CEMİYETİ: (The Üsküdar Music Society) The former name of this society was changed together with the declaration of The Republic and under the name given above its existence had been gone on until the year of 1934 and regained its official identity with the name of `The New Üsküdar Music Society`. Its establishment was renewed under the name of `Üsküdar People Music Assembly` and in the year of 1983 in an extraordinary meeting, it had taken its previous name back again which was `the Üsküdar Music Society` and later, on October 19, 1985 its name was again changed as `The Emin Ongan Music Society`. All these societies have brought numbers of advantageous points to strengthen the fundemental stones of our music and also to introduce it in a better way to all. XIV`Mevlevî-hâneler` : (Whirling Dervishes' houses) Which had also been educating music in a very high level comparable with the one in Enderun were the secondary foundations. Mevlevîlik (Fellowship of Mevlâna) which was founded in the XII th century had been by time become a nest of education and knowledge in the boundaries of the Ottoman Empire. These houses of the whirling Dervishes (Mevlevî-hânelerde) in which were taught not only music but also, painting, miniature, gilding, calligraphy, engraving, inlaying with mother-of-pearl, watch-making, islamic learnings, including Arabic and Persian had almost been gained a kind of academic structure. The most important of these Mevlevî-hâneler are as follows: GALATA (Kulekanısı) MEVLEVÎ-HANESİ: (Galata `Towergate` House of Whirling Dervishes) It was the first Mevlevî-hâne established in the year of 1492 by iskender Pasha. This monestery of Dervishes as being restored in coming years was turned into `Divan Edebiyatı Müzesi` (The Museum of the Divan literature). YENİKAPI (BÂB-I CEDÎD) MEVLEVÎ-HÂNESİ: `The New Gate Hause of Whirling Dervisches) It was founded by one of the Jenissary clerks namely Mehmet III Efendi and had been served for almost 300 years. BAHARİYE MEVLEVÎ-HÂNESİ: (Spring-time House of Whirling Dervishes) It was established in the year of 1621 and also known by the name of `Beshicktash House of Whirling Dervishes`. It was fully inaugurated and put into service in 1877 and after this date, it was in fact named as `Bahariye Mevlevî-hânesi` but its auditorium for whirling dervishes (Semâ-hâne) was unfortunately burned down in 1935. XVKASIMPAŞA MEVLEVI-HANESİ: (Kasımpasha house of whirling dervishes) This house of whirling dervishes was established by Sari Abdullah Efendi on his own land. ÜSKÜDAR MEVLEVI-HANESİ: (Üsküdar house of whirling dervishes) This convent of dervishes (Tekke) was founded by Numan Dede and did not find the possibility of being developed as much as the others. Guilds (loncalar) whose establisment dates were unknown had been started to be structured towards the end of the XIX th century. Having no connection at all with the Palace, the Mosque and the Dervish Lodge (tekke) all singers and musicians who made the people listen music were considered as the ones from the tradesmen and naturally connected with the organization of the Dervish Lodge as the other tradesmen were. Music education in schools: In the early years of the Republic the Turkish music were been taught in the secondary schools and even in some primary schools. The first one was Dâr-üş-şüfaka (Healing House) and the other was Dâr-ül Mu'allimât, in another word the teacher's school for girls. As for the period of the Republic, it almost became a starting-point of a new period for the Turkish Music. In this period, eastern culture had been wanted to be put under the influence of western culture. The given music education to realize this aim had caused to the Turkish music to get degenerated and to be left out by itself. The Turkish music had been ceased to be taught in schools and even not allowed to be broadcast from the radios in the period of the Republic. Apparently, problems of the Turkish music have gradually grown difficult and left in a situation of complexity. XVI