Türk müziğinde bestecisi bilinmeyen eserler

Abstract

ÖZET `Türk Müziğinde Bestecisi Bilinmeyen Eserler` konulu bu çalışma yüksek lisans tezi olarak hazırlanmıştır. Bütün araştırmalarda kaynak yetersizliği yüzünden karşılaşılan problemler, günümüzde karşımıza bir takım zorluklar çıkarmaktadır. Konumuz olan bestecisi bilinmeyen eserler, bu halkanın küçük bir bölümünü teşkil ermektedir. Bu çalışmaya elimizden geldiği kadar ve konu ile ilgili kişilerin yardımlarıyla araştırma konusuna açıklık getirmeye çalışılmıştır. Bu araştırma beş bölümden oluşmaktadır. 2. Bölümde; çalışmaya başlangıç yapılmış ve kaynak yetersizliği, konuyla ilgili tarihsel açıklama, Laedri kelimesinin sözlük anlamı, anonimlik konusu, bestecisi bilinmeyen eserlerin bilinmeme sebepleri, alınan görüşler ışığında açıklanmıştır. 3. Bölümde; tespit edilebilen bestecisi bilinmeyen eserlerin dönemlerine göre ve bazılarının da isim sahibine göre tespitine çalışılmış ve yine görüşler esas alınmıştır. 4. Bölümde; bulunabilen bestecisi bilinmeyen eserlerin teorik çerçevede biçim ve yapı incelemeleri yapılmış ve çıkan sonuçlar açıklanmıştır. 5. Bölümde; tespit edilebilen bestecisi bilinmeyen eserlerin notaları konulmuş ve son olarak konuyla ilgili sonuçlar değerlendirilmiştir. Bu çalışmada kırküç bestecisi bilinmeyen eser çeşitli kaynaklardan toplanıp, bir araya getirilerek sunulmuştur.

SUMMARY Entitled `Anonymos Works in Turkish Classical Music`, this study was prepared as a master's thesis. Today, the default of obtaining adequate sources has become a major handicap in almost all of scientific research. Unfortunately, this research on anonymous (Laedri) works provides yet another ring of this inevitable chain. The insufficiency of Turkish Music. Written work is music imply musical works written down in notes. However, it is well know that the efforts to develop a system of notes in Turkish Music have not achieved an appreciable success. The insufficiency of written works is not only a result of the structure and traditions of music, but also of the obstacles encountered in sustaining the culture and customs. Throughout the five sections of this study, relevant historical explanations are given, the vocabulary of the word `Laedri` are disclosed, the reasons for being unaware of the composers of the works are explored consulting both to be limited sources, and to the opinions of honorable masters of the subject. 43 anonymous works have been determined. In analyzing these works, a rather theoretical and formal method is followed instead of a musicological analysis. This theoretical and formal method comprises the structural research of these works together with the inexact perceptions on to who and which period they may belong. Rooted traditions like Turkish Classical Music include so many works of art that the anonymous works constitute a only minor subdivision. Anonymous works bear some sort of insolubility by the very nature of their names and subjects. When the question of why any work was given such a name is to be answered, the possibility of finding even the slightest clue that will highlight the matter depends on thorough musicological researches. In most cases, one faces contradicting pieces of information and the matter appears to be even more difficult to handle. Due to the above reasons, we have decided to carry out a rather theoretical and formal approach instead of a musicological one along this study. VIEntitled `Anonymous Works in Turkish Classical Music`, this study was prepared as a master's thesis on Turkish Classical Music to be presented to the Technical University of Istanbul (TUI), Institute of Social Sciences, Academy of Fine Arts, Department of Music. When the anonymous peshrev and saz semais are that have been determined here are structurally examined, it is seen that the melodical statements do not display a symmetry. In general, answers to interrogative statements are not given within a framewonk of equivalent measures. In the case of oral works, it is seen that the forms are composed with regard to shape peculiarities. However, from a structural research point of view, there exist a couple of works where the melodical statement symmetry does not apply. Other examples display forms where structural peculiarities are seeked. In today's saz semais and peshrevs, the works appear more stereotyped and the hanes and teslims are used with equal verses. On the other hand, the anonymous works of the previous periods include peshrev and saz semais that were composed with less attention to the forms. The five hundred years old Turkish Classical Music has an impessive property which the lackness of text. In spite the lackness of text, lots of text music has been written and printed for hundreds of years. The idiom `Laedri` which is our subject can't been noticed in Ebu Bekir Ağa's (1685-1789) and Hekim Başı Abdülaziz Efendi's works which are written in 1739. Instead of the idiom `Laedri` it was used to leave that space emty if the composer of the prices was unknown. And this makes us think that this idiom was not used in those days. There isn't a proef even in the magazine talks just about the music texts, the composers are taken place in a mixed way with non chromological order. Even if that sort of an idiom was used this shows that it wasn't taken care by the compiler. The first hint we found `Laedri` was found in Kazasker Mustafa İzzet Efendi's music text magazite (1801-1876). In this one they used the idiom `Laedri` for the unknown composers. Also in Hacı Arif Bey's magazine `Mecmua-i Arif-i` they used this idiom which was printed in İbrahim Sun Efendi's printing office in İstanbul (1873). Besides all these, Bohahen Nuri Bey's `Mecmun-i Şarlayyat` and `Kahra ve Nastha` didn't contain the `Laedri` idiom even they were published in the same time with others and the shows us that `Laedri` is used according to the state of affairs. After a period we see `Laedri` again in Haşim Bey's magazine. In the beginning of the 19th century, it can be seen that this idiom is sometimes used and sometimes not as a matter of desire and this shows us that there isn't a unique idea. If we go on searching for this subject, lots of contradictions emerge, but in the 20th century the sentence `Composer is unknown` is used instead of `Laedri` And this makes it hard to find out to viiwhich time it belongs. In some magazines the one a with the known composers could be seen in other magazine whit an unkrown composer profile which brings out hard and puzzled contradictions. The origin is not enough and because of this the exploration can't go beyond words. These sorts of negativinesses, made the works with unknown composers, in crease. Consequently, it can be said `Laedri` is brought out just to fill space and give and Artful image. The real meaning of the word is rebelion which has been filled a significant place and now it has given if s place to another idiom, as the other words did in the history. The inadequacy of resources in Turkish Music is a known fact. This research on anonymous (Laedri) works provides yet another ring of this inevitable chain. So, this research has applied substantially to the assistance of the masters of the subject. The study consists of five sections. In the second section, an initiation to the research is made, and the topics of the inadequacy of resources, relevant historical explanations, the vocabulary of the word `Laedri`, and the reasons for being unaware of the composers of the works are explained under the guidance of the masters. Still, these explanations shall not be considered rigorous or on scientific grounds. In the third section, relying on the masters' views, the works were tried to be determined with respect to their composers or the periods they belonged to. In the fourth section, the anonymous works that could be found were examined theoretically according to their structures. In the fifth section, the anonymous works that could be found were written down in notes and the conclusions were stated. Within this study, 42 anonymous works were collected from various sources, and presented to the world of music. Rooted traditions like Turkish Classical Music include so many works of art that the anonymous works constitute a only minor subdivision. Anonymous works bear some sort of insolubility by the very nature of their names and subjects. When the question of why any wonk was given such a name is to be answered, the possibility of finding even the slightest clue that will highligh the matter depends on thorough musicological researches. In V1X1most cases, one faces contradicting pieces of information and the matter appears to be even more difficult to handle. Due to the above reasons, we have decided to carry out a rather theoretical and formal approach instead of a musicological one along this study. When the anonymous peshrev and saz semais are that have been determined here are structurally examined, it is seen that the melodical statements do not display a symmetry. In general, answers to interrogative statements are not given within a framework of equivalent measures. In the case of oral works, it is seen that the forms are composed with regard to shape peculiarities. However, from a structural research point of view, there exist a couple of works where the melodical statement symmetry does not apply. Other examples display forms where structural peculiarities are seeked. In today's saz semais and peshrevs, the works appear more stereotyped and the hanes and teslims are used with equal verses. On the other hand, the anonymous works of the previous periods include peshrev and saz semais that were composed with less attention to the forms. Entitled `Anonymous Works in Turkish Classical Music`, This study Was Prepared as A Master's Thesis 1. An Acem Peshrev in Devr-i Kebir style 2. An Acem Kürdi Peshrev in Düyek style 3. An Araban Kürdi Peshrev in Düyek style 4. A Çargah Peshrev in Devr-i Kebir style 5. A Güldeste Peshrev in Muhammes style 6. A Heftgah Peshrev in Devr-i Kebir style 7. A Hicaz Peshrev in Berevşan style 8. A Hicaz Buselik Peshrev in Muhammes style 9. A Hüseyni Aşiran Peshrev in Devr-i Kebir style 10. An Irak Peshrev in Ağır Çenber style 1 1. An Isfahan Peshrev in Remel style 12. A Muhayyer Zengüle Peshrev in Düyem style 13. A Rast Peshrev in Devr-i Revan style 14. A Rast Peshrev in Nim Sakil style 15. A Rehavi Peshrev in Çenber style 16. A Şevkaver Peshrev in Hafif style 17. An Uşşak Peshrev in Çifte Düyek style 18. A Beste Isfahan Saz Semaisi in Aksak Semai style 19. An Evç Saz Semaisi in Aksak Semai style 20. A Hüseyni Saz Semaisi in Aksak Semai style 21. A Nigar Saz Semaisi in Aksak Semai style 22. A Sultan-i Evç Saz Semaisi in Aksak Semai style >. IX23. A Şehnaz Saz Semaisi in Aksak Semai style 24. The work `Ey Taht-ı Hezari Ra` in the form Bestenigar Nakış in Çifte Büyek style 25. The work `Devr-i Lelinde Baş Eğmen Bade-i Gülfâme Ben` in the form Evç Beste in Ağır Çenber style 26. The work `Dil Senin Meftunun Oldu Ey Meh-i Ali Cenap` in the form Ferahnak Şarkı in Ağır Düyek style 27. The work `Ebrulerin Zahmı Nihandır Ciğerimde` in the form Hicaz Kalender in Aksak style 28. The work `Dil Bülbül Olup Gonca-i Gülzâre Sarıldım` in the form Hicazkar Şarkı in Türk Aksağı style 29. The work `Ne Ağlarsın Ela Gözlüm Gönül Senden Ayrılır mı` in the form Hüseyni Şarla in Aksak style 30. The work `Üzdün, İncittin Felek Dil Hanemi` in the form Hüseyni Şarla in Düyek style 3 1. The work `Teşrifim Efendim Özler Canım` in the form Hüseyni Aşiran Şarkı in Düyek style 32. The work `Solgun Bir Hayal Gibi Bekledim Sahillerde` in the form Hüzzam Şarkı in Düyek style 33. The work `Eski Firkat Dideden Cari İken Hayli Zaman` in the form Isfahan Şarkı in Ağır Aksak style 34. The work `Ah Ne Yüzden Arz-ı Hal Etsem Acep 01 Sah-ı Hubana` in the form Karcığar Şarla in Sofyan style 35. The work `Yaktın Ey Ateş Mizacım Sine-i Suzammı` in the form Muhayyer Şarkı in Türk Aksağı style 36. The work `Meğer Oymuş Senin Derdin` in the form Nişaburek Şarkı in Yürük Semai style 37. The work `Müşteki Lebet Şeker Fürasan` in the form Pençgah Nakış in Yürük Yürük Semai style 38. The work `Açıldı Ezhan Bahar` in the form Rast Şarkı in Semai style 39. The work `Yarim Şikerdan Gelir Hayli Zamandır` in the form Segah Nakış in Aksak Semai style 40. The work `Sunma Saki Bade-i Gül-Fam'ını` in the form Şedd-i Araban Şarkı in Düyek style 41. The work `Medhedeyim O Dilberi` in the form Şehnaz Şarla in Sengin Semai style 42. The work `Gülsen Bahçesinde Bir Zade Gördüm` in the form Tahir Şarkı in Aksak style. 43. A Sultaniyegah Sirto in Türk Aksağı and Nim Sofyan style.