AGK 131 numarada kayıtlı Risale-i Musiki`deki makaleler

Abstract

ÖZET `Agk 1 31 numarada kayıtlı risâle-i musikideki makaleler` konulu çalışma üç ana bölümden oluşmaktadır. Çalışmamızın giriş bölümünde eserin tanıtımı yapılmış, tez çalışmasında üzerinde durulan hususlar belirtilmiştir. Birinci bölümde Risâle-i Musikinin çeviriyazısı yapılmış, bu sırada eksik yazılımlar tarafımızdan giderilmeye çalışılmıştır. Risale-i Musikinin içerisinde dört makale bulunmaktadır. Bu makalelerden ilk makale başlıksızdır ancak eser incelendiğinde, Kırşehirli Yusuf a ait olduğu sanılan kuram kitabı olduğu anlaşılmaktadır, ikinci makale, Kantemiroğlu edvarının bir bölümünün özeti niteliğindedir. Ayrıca metinde derkenar şeklinde notlar bulunmaktadır. Üçüncü makale Der Beyân-ı Kavâid-i Nağme-i Perde-i Tanbür başlığı altında yazılmıştır. Dördüncü makale ise birinci ve ikinci makalede yer alan bazı bilgilere eklenen bir kaç bilgi ile Devr Feleğe Yevm-i Saat-i Zemâniye başlığını taşımaktadır. Bu eserlerin kimin tarafından derlendiği bilinmemektedir. ikinci bölümde, eserin daha iyi anlaşılmasını sağlanmak açısından, içeriği maddeler halinde özetlenmiştir. Üçüncü bölümde ise, metinlerin kritiği yer almaktadır. Farklı yüzyıllara ait olduğunu düşündüğümüz dört makale, dönemlerindeki eserlerle karşılaştırılmış ve makalelerimizin özellikleri ortaya konulmaya çalışılmıştır. Edvar geleneği geçmişten günümüze irdelenmiş, bu yapılırken biçim ve içeriklerindeki değişiklikler gözönüne alınmıştır. Bugün nazariyatta karşılaştığımız aksaklıklar, incelediğimiz makaleler ışığında aydınlatılmaya çalışılmıştır. vı

SUMMARY in this research, the articles in `Risâle-i Musikî (no: 131, Ankara Library) have been studied as a comtemporary work of art in the Turkish Art Music Program of Fine Art Depertment at Institute of Social Sciences, istanbul Tecnical University. This study consists of three majör chapters. in the introduction, the content of the study has been described. in the first chapter, the transcription and translation of the `Risâle-i Musikî` has been given. in the second part, to provide simplicity the content of the study was given as a list. The third part involves the criticisms of these four articles. These articles, which belong to different centuries, were compared with other `Edvar` (theoretical books) of their contemporaries to show different aspects of these articles. The tradition of `edvar` has been examined from the past until today, and also the changes taking place have been shown. Problems we face in the theory of Turkish Art Music have been tried to be solved in the light of articles we have studied. Our aim in choosing this subject was that we wanted to show the changes occuring both in the content and form of these books. `Risâle-i Musikî`, which is an anonymous book, can be found in National Library, in Ankara. On the stamp, it reads the following: Ankara General Library; the Ministry of Education Library registration: 131, 781/ 94.35, 1923. Below the stamp on the cover, the following information is observed: Name of the book: Risâle-i Musikî vııWriter: Şehrî Kırşehri el Mevlevi Yusuf İbn Nizâm al-Din İbn ü Yusuf Rûmî 24/03/1947. inside the cover the following is seen in Arabic: 1041/91 T2/5, which is the old registration number. Also seen in the upper right corner is the notice written in lead pencil: The book: Şehri Kırşehri el-Mevlevî. The translator is not known. On the back cover of the book we see the stamp again, as the one on the front. In addition, on this page, there are different stamps that belong to three different people: 1st stamp: [1] 231 Hazret-i Bende-i Mevlânâ Nâyi Ali Dede. 2nd stamp: Nâyi Hasib 3rd stamp: Esrar-ı Mevlevi. The dimensions of the book is 222x142 mm. The type of the writting is `tâlîk`. The book is written in Turkish, but on the first three pages of the second article, there are some sentences written in Arabic. The cover leather is purplish brown. Following the 1 12th page of the book, there are some blank pages as well. The book was mainly written in black ink but in some parts blue and red ink was used. Each page generally contains 23 lines. The title on the front cover gives the impression that this book was written by only one person` Şehri Kırşehri Yusuf bin Nizameddin` Since they did not examine the original book properly, some writers dealing with the bibliography say that this book has been written by Kırşehirli Yusuf. In this book there are four articles and the content of each is as follows: First article consists of 37 pages. This article is without a title and we named it as Article 1 31/1. This article is about the theory of music and written by Kırşehirli Yusuf. He wrote this article in Persian. To enable everyone to understand his book, the author translated this article into Turkish. This article includes the classification and description of makam, usuls, tunings of the instruments and the relationship among physiology, makam and stars. vinThe second article, 131/2, begins as a classical `edvar` but in fact it is the summary of only the mode parts of the book. Kitâb-ı İlmü'l Musikî, Ala Vechi'l Hurufat which is known as Kantemiroğlu Edvarı. The author also added some side-notes, which are written on the sides of the pages, which, in our opinion, reflect some new mode names of the era. This article is also without a title and consists of 37 pages. The article, 131/3, consists of 17 pages. The title of this article is Der Beyân-ı Nagme-i Kava'id-i Nagme-i Perde'-i Tanbür. On the right column of the first page, there is a picture of `Tanbur`, which indicates the names of the freds. The writer of this article is not known. But in his description of the mode Hüzzâm the writer mentions Acems. This gives us the impression that it was written in the second half of the 17th century. The article, making use of the instrument of Tambur, gives us information about modes. The article 131/4 consists of 10 pages. Its name is Devr-i Felek Yevm-i Sacat-i Zemaniyye under this heading. There are descriptions about the relationship between modes, horoscopes, `agâze` and `şucbeler` and it gives us information about what modes should be performed at different hours of the day. In addition to the information which you can also find in the articles 1 31 A and 1 31/2, information about the relation-ship of stars, names, and times are also given in the article 1 31/4. We know very little about the owners of the three stamps; Nayi Ali Dede, Nayi Hasip, Esrar-ı Mevlevi. There is noinformation about the writer of this book, Risâle-i Musikî. However, there is the stamp of Nayi Ali Dede on the Kantemiroğlu Edvar, which is in the library of Institute of Türkiyat, Istanbul, and since the second article is a summary by Kantemiroğlu, this makes us think that it is most likely that this book was written by Nayi Ali Dede. Since the second article is the summary of the modes section written by Kantemiroğlu Edvar, it reminds us of Mustafa Kevseri, who published the Kevseri Collection, and Nayi Ali is the same person. The fact that there is not much information about the writers led us to studying directly Risâle-i Musiki. Taking into consideration the side notes, we tried to determine in which century the book (Risâle-i Musiki) was written. IXThe second article, 131/2, begins as a classical `edvar` but in fact it is the summary of only the mode parts of the book. Kitâb-ı İlmü'l Musikî, Ala Vechi'l Hurufat which is known as Kantemiroğlu Edvarı. The author also added some side-notes, which are written on the sides of the pages, which, in our opinion, reflect some new mode names of the era. This article is also without a title and consists of 37 pages. The article, 131/3, consists of 17 pages. The title of this article is Der Beyân-ı Nagme-i Kava'id-i Nagme-i Perde'-i Tanbür. On the right column of the first page, there is a picture of `Tanbur`, which indicates the names of the freds. The writer of this article is not known. But in his description of the mode Hüzzâm the writer mentions Acems. This gives us the impression that it was written in the second half of the 17th century. The article, making use of the instrument of Tambur, gives us information about modes. The article 131/4 consists of 10 pages. Its name is Devr-i Felek Yevm-i Sacat-i Zemaniyye under this heading. There are descriptions about the relationship between modes, horoscopes, `agâze` and `şucbeler` and it gives us information about what modes should be performed at different hours of the day. In addition to the information which you can also find in the articles 1 31 A and 1 31/2, information about the relation-ship of stars, names, and times are also given in the article 1 31/4. We know very little about the owners of the three stamps; Nayi Ali Dede, Nayi Hasip, Esrar-ı Mevlevi. There is noinformation about the writer of this book, Risâle-i Musikî. However, there is the stamp of Nayi Ali Dede on the Kantemiroğlu Edvar, which is in the library of Institute of Türkiyat, Istanbul, and since the second article is a summary by Kantemiroğlu, this makes us think that it is most likely that this book was written by Nayi Ali Dede. Since the second article is the summary of the modes section written by Kantemiroğlu Edvar, it reminds us of Mustafa Kevseri, who published the Kevseri Collection, and Nayi Ali is the same person. The fact that there is not much information about the writers led us to studying directly Risâle-i Musiki. Taking into consideration the side notes, we tried to determine in which century the book (Risâle-i Musiki) was written. IXThe Safiyyüddin classification of 12 makams begin with `Uşşak`. From the time of Kırşehirli in 15th century `Rast mode` is the first commonly accepted. Most of the theory books begin with Rast, and Rast was the first of all Melody Collections. According to scholars, Rast is based on complete freds. These pitches are Rast, Dügâh, Segah, Çargâh, Neva, Hüseyni, Evç, Gerdaniyye. Therefore, Seydi's Edvar the Rast makam is said to be the main mode. In conclusion acccording to the articles the result of Arel theory does not match with earlier theories. According to the theory of Arel, the main makam is `Çargah`. The main pitches are the voices mainly three categories simple, compound and transpozition (şedd). The sound system is formed as 25 pitches and 24 intervals. Instead of the explanation of the melodical progression, it explains the mode as the form of tetracord and pentacord. There are difference between the traditional and present theories. XI