Selanik`li Ahmet Bey`in Dilhayat Nota Mecmuası

Abstract

Selânikli Ahmet Bey 1860 yılında doğdu. Küçük yaşlar d; u.üzikle ilgilenmeye bağladı. Çeşitli hocalardan ders aldı ve mevlevihâneye devam etti. Müzik bilgisini artırarak bir sar grubu kurdu» Selanik piyasasında müzik /aprnaya başladı. 191?'te istanbul'a kısa süre sonra da İzmir'e taşınarak müzik yaşamına G e v a rn e u o ı. izmir'in müzik çevresine renk getiren Selânikli Ahmet Bey, izmir'deki son bir yılında `Dilhayat Nota Mecmuası` 'nı yayınlayarak fasıl.türüne verdiği önemi, müzikolojik açıdan da belgelemiştir. ilk sayı Hüzzam olmak üzere sırasıyla Hicazkar, Suzinak, Nihavend ve Mahur makamlarında beş sayı yayınlanmış olan Dilhayat Nota Mecmuası `nda toplara 74 eserin notası verilmiş¬ tir. 1922 yılının Mart ayından sonra izmir'den ayrılıp istanbul'a yerleşen Selânikli Ahmet Bey kısa sure' sonra ranatsızlanarak felç geçirmiş ve geri kalan yaşamını felçli olarak sürdürmüştür. 4 Aralık 1927 gününde vefat öden '**-1^«.*!.1* A U -..->_ r~ı..,.. !.-.,,, ` .,.ı- -. ^-' * '`.O/î *.,~*,~..*~..-r> ` 1 U -... *~.A- Nt-4--, O-Cilvi. 11 j. ı/l j. riiıuıov Oo>, u j. / ^ ı / w i ;s>-ı. ^.Jt eScî l Ve u J- J. i ı c* f c; u I iwl-.o. Mecmuaları ile bugün de Tür!; Müziği Tarihi' nde önemini sürdürmektedir. iX.

Dil hayat Musical Note Magazine, which was started to be published by Salonican Ahmet Bey in January 1922 în İzmir, was first presented to the Public of Turkish Music by this work. All the notes existing in these fasıl (a concert prog ram all in the same makam) magazines have been written again and transfered to today. Essential information was also given about the life of Salonican Ahmet Bey, his composership, fasıl works and fasıl publication. Chapter 2 Life of Salonican Ahmet 3ey: He was born in Thessalonike in 1868. He has been Involved in music since his childhood. He was instructed by several teachers and attended the Mevlevihane ( lodge cf Mevlevi dervishes). Having improved his music knowledge* he estab lished an orchestra and started to make music on market. He moved to Istanbul in 1913 and to Izmir short after and continued his music life. He earned his life by playing ud (an instrument with six pairs of strings played with a plectrum) and singing in a fasıl group he had established in ivIzmir and giving music lessens. Starting from th3 beginning of January 1922» he published in Izmir five issues of the fortnightly fasıl magazine called Dilhayat Musical Note Magazine. In 1923, he moved to Istanbul. Cn 4th December 1927 he passed away. His Composership The number of the determined works of Salonican Ahmet Bey is two hundred and thirty-four. The composer, having very little used the instrumental types, only composed two peşrev (the best-known form of music, usually of four parts, used with long rhytmic patterns and played at the beginning of a classi cal music performance) and two sazsemai (an instrumental form in four movements, usually played following a fasıl) Concerning his verbal works, all his works are of song type except four kanto (it song-in cabaret or theatre) and two tevşih (a composing with two or more rhymes in each hemistich or clause). He is one of the composers who most used the song type. Moreover, almost ail the songs composed by him have the property of fasıl song. His Fasıl Uorks Salonican Ahmet Bey has accepted the fasıl kind as a part of his music life and reflected this side of hira in his works. He needed to present to people his knowledge in this area by publishing a fasıl magazine. Moreover, the importance of vSalonican Ahmet Bey's place in fasıl works was confirmed by another fasıl musician of that era, Udi Arsak Çömlekçiyan, who published kürdilihicazkar (a compound makara invented by Hacı Arif Bey a century ago) and uşşak (one of the two or three most common simple makarns) fasıl formed only of his works. What is fasıl ? `Fasıl` being derived from the Arabian word `Fasl` means `separating, dividing`. This is the biggest breathy kind of the traditional Turkish Art Music, cause it includes many- other kinds. The essential property of this kind is that peşrev-kar-beste-ağırsemai-şarkı-yürüksemai-sazsemai kinds in the same makam are written one after another and absolutely in a manner from slow to fast and voiced. Moreover in this kind songs are connected to each other by instrumental bridges called intermediate tunes. Fasıl publications till Salonican Ahmet Bey Concerning the fasıl magazines having had an important role in the musical note publication which started in 1875 in Turkey, the names of those published till Salonican Ahmet Bey are below given: 1-Fasil magazine published by îsmet Süleyman 2-Fasıl magazine written by* note writer Emin 3-Mahzen-i Esrar-ı Musiki vı4-Ayineyi-Musiki Fasıl magazines 5-Şamlı Selim Fasıl Range 6-Ottcman Music File 7-Musiki-yi Osmani Cemiyyeti Fasıl Magazines 8-Nuhbe-yi Elhan Fasıl Magazines 9-Fasıl Magazine written by Leon Karagöz 10- İskender Kucirnani Fasıl Magazines Publications of Salonican Ahmet Bey The fortnightly fasıl magazine called `Dilhayat Musical Note Magazine `published by Salonican Ahmet Bey in Izmir in January 1922, had been published in five issues, namely in Hicazkar, Hüzzam, Suzinak, Nihavend and Mahur makams. Among fasıl publications till 1922, it is the ony pubication realized in îzmir. The reason why this important publication was not named among the most important sources of Turkish Music might be that the distribution of this important publication could not be made good enough or it was printed in insufficient quantity and distributed only to certain people. No other publication of Salonican Ahmet Bey has been found except the Dilhayat Musical Note Magazine. Chapter 3 Transcription of Dilhayat Musical Note Magazine All musical notes available in these fasıl magazines publis hed in terms of musical note and music concepts of 1922, viiwere arranged in accordance with Yekta-Arsl-Ezgi-Uzdiie!: system and written again. Chapter 4 Dil hayat Musical Note Magazine It was published by Salonican Ahmet Bey in Izmir Maarifet Printing-office in January 1922. It is guessed that no more publication was made other than the five issues available. In these fasıl magazines, musical notes of a total of seventy- four works were given. When a study was made in order to determine whether these works existed in repertoire books, only six works not registered on the name of Salonican Ahmet Bey, i.e. six unknown works were found out. Results and Suggestions As a result of this work, informations concerning the life of Salonican Ahmet Bey were gathered together. The transcrip tion of the Dilhayat Musical Note Magazine was prepared and presented to the attention of the concerned Turkish Music Authorities. It is also suggested that original reproductions zr,d transcriptions of all publiciations in Ottoman language printed before 1928, should be prepared. Vlll