Prof.Dr. Alaeddin Yavaşça ve Türk müziğindeki yeri

Abstract

ÖZET `ProfDr. Alâeddin Yavaşça` konulu bu çalışma yüksek lisans tezi olarak hazırlanmıştır. Prof.Dr. Alâeddin Yavaşça'nın hayatının birçok ayrıntıları incelenmeye, araştırılmaya çalışılmıştır. Hakkında yazılı kaynaklardaki bilgi ve belgelerden; kitap, ansiklopedi, musiki mecmuaları, sanat ve tıp çevresinden hayatı ve eserleri araştırılmıştır. I Mart 1926 yılında Kilis'te doğdu. İlk musiki derslerini müzik hocası olan Zihni Çelikalp'ten keman dersleri alarak başladı. 1944-45 yıllarında İstanbul Tıp Fakültesine girdi. Fakülte yaşamında konservatuar niteliğindeki üniversite korosuna girmiş ve koronun solisti olmuştur. 1950 yılında açılan imtihanı kazanarak İstanbul Radyosunun devamlı solisti olarak yayınlarına başlamıştır. I I Nisan 1955 yılında kadın doğum branşında sınavını vererek uzman doktor olmuştur. Güzel ve engin bir sese sahip olan Yavaşça, Nedim Beyden başlayarak, Zeki Arif Ataergin ve Münir Nurettin Selçuk'a geçen üslubu çok iyi bir şekilde kavramış ve Türk toplumuna sunmuştur. 26 Aralık 1980'de Ayten Yalçınla evlenmiştir. Değişik form ve usullerde 400'ü aşkın eseri bulunan Yavaşça'nın tezimizde eserlerine örnek olarak birkaçı sunulmuştur. v

S U M M A R Y Prof.Dr.Alâeddin Yavaşça who is öne of the most famous composers, burn in Kilis on ist March 1926. His father is Yavaşçazade Hacı Cemil Efendi and his mother is Enver Hanım. The Yavaşça Family has a foundation existing since 400 years. Meantime, his grandfather Sezai Efendi, the clerk of the Court, was a poet and had a humorious personality. He had a collection of poems in the forms of `Mersiye`, `Methiye`, `Naat`, `Gazel` and `Kaside`. Last-born of three brothers and three sisters, Mr. Yavaşça was married on 26 December 1980 with Ayten Yalçın. in his childhood, Mr. Yavaşça, who listen the coran and the songe withe the beautiful voice of his father, began to sing these songs. His father, Hacı Cemil Bey, who is enthusiast of the Turkish music, every time he came to İstanbul, he bought the records of Münir Nurettin Selçuk and `Darültalim-i Mûsiki` and go back to Kilis with these records. These records had a very important influence on Mr. Yavaşça who was 4-5 years old. These records, beatiful voice of his father and his brother Cemaleddin and his sister who studied `ud` had a very important effect on the formation of his pleasue of music. When he was eight years old, he studied violin from Zihni Çelikalp, his music teacher of Kilis Kemaliye Primary School. With his brother and sister he continued to musical studies and he attached to to Turkish music. He completed secondary school in Kilis and started to high school at Konya, inturrupted for two years because of ploresi and peritonitis diseases, continued to second year in istanbul Erkek Lisesi and he was interested in Turkish music closely.Meantime, he developed his knowledge by studying with Letters teacher Hakkı Süha Gezgin (two days per week) and by participating to the studies of Dr.Selahattin Tanur. He took `kanun` courses from Artaki Candan and studied a lot of songs from Fikret Kutlu. He started to Faculty of Medecin in 1944-45 and he entered to the university chorus conducted by Dr.Nevzat Atlığ and became the soloist of this chorus. And he prepared his first radio programmes with this chorus in 1950. Beside these studies, he collaborated with Zeki Arif Ataergin (son of Kanuni Hacı Arif Bey), Sadettin Kaynak, Hüseyin Sadettin Arel, Mesut Cemil, Münir Murettin Selçuk, Fehmi Tokay, Ekrem Karadeniz, Süleyman Ergüner, Nuri Halil Poyraz, Veli Kanık and Refik Fersan. Mr. Yavaşça, who had beautiful and impressive voice, is the one of the leaders of ther performers of the traditional Turkish music. He listened and influenced by Hanende Nedim Bey, Bestenigar Ziya Bey, Henende Hüsamettin Bey, Zeki Arif Ataergin and Münir Nurettin Selçuk and by adding his own technique, he offered his songs to Turkish people. He worked in radio programmes for solo and chorus from 1950 to 1960. He directed his efforts to the solo programmes in 1960-66 years. Since 1966 he prepared four solo programmes per month and performed all forms of the Turkish music. He never worked in the places where the alcoholic beverages are consumed. RECORDS He recorded : 1 Long Play 25 records of 78 rpm 15 records of 45 rpm Prof.Dr. Alâeddin Yavaşça performed a lot of concerts in Turkey and in abroad. Each year he participate to Istanbul Art Festival programmes. He was invited two times to United States of America by various establishments and during these visits he performed five concerts. Also he was viiinvited to music festival of B.B.C. in 1988, at Queen Elisabeth Hall, London, and performed three concerts. In addition to his performance, he is also a very productive composer. He start to compose the 10th of Jully 1951, withe the following song in form `Hicaz` and in the rhythm `Sengin Semai` : Aşkın beni bak yıktı, Hârâb eyledi ey mâh Gönlüm seni tâ haşre kadar saklasa hep âh Sensin yine kasdeyleyecek canıma zâlim Beyhude benim çektiğim âh eyledim vâh He has songs in the forms `Beste`, `Semai`, `Şarkı`, `Peşrev`, `Saz Semaisi`, `Methal`, `Etüt`, songa for children, `Mevlevi Âyini` and `İlahi` in religious fields. He is a very capable composer for the creation of melody harmonized by the meaning of the lyrics. In me most of his songs the interval of the voice is about two octaves. The most important reason of this is being a singer at the same time. Dr. Alâeddin Yavaşça ile one of the composers whose songs are widely published. He has a lot of scientific works published in the artistic and cultural magazines. He participated to various symposiums in Turkey and in abroad and he published some medical articles in the newpapers. Apart from his soloist work he also conducted the chorus and teached the trainees of the Turkish Radios and helped them for their musical carreers. At this moment, he is soloist and the conducter of the Turkish Classical Music Chorus (for men) of T.R.T. Istanbul Radio. In the field of medical administration, he established the gynecology service of Gureba Hospital as the chief of the clinic in 1969 and continued to 1976. In 1976, he went to Haseki Hospital and on 1st of October 1985 he became the maneger of this Hospital. In 1980, Prof.Dr. Alâeddin Yavaşça finished `Administration and family planning` courses in John Hopkins University Hospital, Baltimor U.S.A.He participated to some commisions on radio administration between 1960 and 1966 years. Dr. Alâeddin Yavaşça, who worked in T.R.T. repertoire and inspection boards, participated also to the Turkish Music Research and Evolution Commision of the Ministry of National Education to Turkish Music Board of The Ministry of Culture and to the Commision of 5th Development Planning for the Turkish musical education. He was the pioneer of the establishment of State School of Music. The opinion of Dr. Alâeddin Yavaşça on Turkish music is given below with his own words : `In the evolution of its life the Turkish music had the maximum density between the end of the seventeenth century to the nineteenth century. Composers who lived in this period added their best compositions to the Turkish music. In the first half of the 20th century, in spite of the fact that the composers of this period was influenced by the elder composers and they composed some enjoyable songs, we have to admit that this period is the moment where the Turkish music began to descent. The modernisation movements starting from the age of Mahmut II and continuing after the establishment of the Turkish Republic dirninished his protection on the traditional culture, even banned, speeded up this collapse. But in 1975-76, the establishment of the State Conservatory of Turkish Music by the Ministry of National Education and State Chorus of Turkish Classical Music by the Ministry of Culture had the transfusion effect on this traditional treasure. The above-mentioned Conservatory is a source of hope for the young generations who could learn the Turkish national music from the beginning and the fundementals of the occidental music in order to adapt the polyphony to search new possible challences for the future and to prevent the folk music from defoliation and to supply the best performance (icra).` Prof. Dr. Alâeddin Yavaşça explains his opinions on performance (icra) as follows : `In order to perform the big forms (such as `kâr`, `beste` and `semai`) it is necessary to study their structures, properties of their tones (makam) to examine the cadances (geçki) and to be capable of tempos (usûl). In the performance of this kind of forms, it is necessary to take into account the melody ant the rhythm separetely and to preserve the ryhthm during the performance. Especially the rhythm of the refrains should be distincts. IXIt is very important that the performer should have the knowledge about the classical music composer's tecniques. All these opinions that I have explained before are also valid for the other forms like `Ağır Aksak Semai`, `Ağır düyek`, `Ağır aksak şarkı`. For the songs of the romantic period, which is a also called `neo classical`, the emotions have the priority. In this form the lyrics are very important. The performer should feel and know to express the meanning of the lyrics adapted to the song by the composers. Performance of the religious music is differen from the non-religious music. Religious ceremonies (mevlevi ayinler) are `semâ` musics. In the form `Selâm` the change of tone and rhythm is performed with a special rule. In this music, this harmony is combined with `semâ`. The forms which should be performed in a joyful manner like `ilahî`, `tevşih`, adapted to religious ceremonies of various sects. In this kind of works, the love of God should be felt and should be expressed this feeling. During the performance the lyrics and rhythms should be harmonized with stron manner. In the `zikr` ceremonies, increasing joy and rhythm is the most important characteristic. The forms to be performed which need a great joy and ability are `naat`s, `durak`s, `Mersiye`s and `kadise`s. Fantasy music is the equivalent of popular music. In the performance, the emotions are in the second order. The rhythm has the first importance. Most of the songs are in the same level of the occidental school music. But some valuable composers could compose some beautiful songs in this form.`