Nota muallimi Hacı Emin Bey`in hayatı ve bestelemiş olduğu eserler

Abstract

İstanbul Teknik Üniversitesi Sosyal Bilimler Enstitüsü Güzel Sanatlar Ana Sanat Dalı Türk Sanat Müziği alanında yapılan bu Yüksek Lisans Tezi Nota Muallimi Hacı Emin Bey'in Hayatı ve Bestelemiş olduğu Eserler'i içermektedir. Bu çalışmanın ilk aşamasında mümkün olduğunca eserlerin orjinalleri temin edildi. İstanbul'daki çeşitli kütüphanelerde araştırmalar yapıldı ve T.R.T. repertuvârı incelendi. Ele geçirilen eserler eski Türkçe'den günümüz Türkçe'sine çevrildi. Belgelerle gösteremediğimiz bazı eserler ise, temin edilmiş bazı orjinal notaların arkalarındaki fihristlerden tespit edildi. Daha sonra katolog çalışmasına geçildi ve bu çalışma sırasında Nota Muallimi Hacı Emin Bey'in sıra sayılı yayınlarından 260 adet eser bulunduğu 87 bestecinin eserlerine yer verildiği, peşrev, saz semai, sirto, şarkı, marş, polka, mazurka ve vals formunda eserler bulunduğu, 30 değişik makamda ve 22 değişik usulde eser olduğu ayrıca Nota Muallimi Hacı Emin Bey'in kendi terimleri ile bazı usuller kullandığı, peşrev saz semai, şarkı, marş, vals, mazurka, kanto ve polka formlarında 53 eser bestelediğ bazı eserlerini armonize ettirdiği, yayınlarının 7 değişik matbaada basıldığı tespit edildi. Ayrıca bu, inceleme sonucunda Nota Muallimi Hacı Emin Bey'in bestelerinin çoğunun T.R.T. repertuvannda olmadığı da belirlendi. Nota Muallimi Hacı Emin Bey'in tespit edebildiğimiz eserleri Hafif Düyek usulünde Acemaşiran Peşrevi, Hafif Düyek usulünda Saba Peşrevi, Hafif Düyek usulünde Hicaz Peşrevi, Fer usulünde Nev- Eda Peşrevi, Hafif Düyek usulünde Nihavend Peşrevi, Nev- Eda Saz Semai, Hicaz Sirto, Nihavend Sirto, Suznak Sirto, Uşşak Sirto, Hicazkar Şarkı (Gülmek yaraşır gül yüzüne ey gül-i canım), Hüseyni Şarkı (Dildade oldum bir dil sitane), Hüseyni Şarkı (Yokdu gönülde bir zaman),Hüzzam Şarkı (Bir gül-i ranaya gönül bağladım), Hicazkar Şarkı (Zar oldu gönül nazre-i suziş eserinden), Nev- Eda Şarkı (Sazı aşkım dinleyin ey aşıkan), Nihavend Şarkı (Can hasta düşüp şiddet-i sevda-i serimden), Nihavend Şarkı (Yad-ı cemalinle gönül eylenir), Nihavend Şarkı (Izdırab-ı cana neden fehm eyledin), Rast Şarkı (Ey benim ahu bakışlı dilberim), Rast Şarkı (Bahar oldu açıl ey verd-i alem), Rast Şarkı (Dil nasıl bulsun teselli derd-i aşka ey peri), Suznak Şarkı (Ta ezelden sevdiğim bir aşk-ı suzana kim), Suznak Şarkı (Müjdeler olsun sana ey şivekâr), Hora olarak Şarkı (Mendili al eline), Mazurka olarak şarkı (Gidelim Göksu'ya yarın gidelim), Polka olarak Şarkı (Bezme gelip duymadan el), Şarkılı Balo Valsi (Bir katra içen çeşme-i pürhun-ü fenadan), Kanto Şarabiye (Olan merüz-i müptela bela-yı hicr-i yar ile), Sonbahar Kantosu (Sonbaharın zevki hoştur tut elinden yari koştur), IIVasfı Marşı (Re m), Nefceti Marşı (La m), Marş Nudi (?), Harmancı Marşı (Sol M), Marş Ate (Sol m), Çoban Marşı (Sol M), Marş Lansiye (Sol M), Balıkça Mazurkası (Do M), Afrika Mazurkası (Fa M), Çoban Mazurkası (Do M), Galata Mazurkası (Fa M), Sular Mazurkası (Do M), Gemici Polkası (Do M), Çayır Polkası (Fa M), Çoban Polkası (Do M), Galata Polkası (Fa M), Macuncu Polkası (Fa M), Sular Polkası (Fa M), Çayır Valsi (Fa M), Çoban Valsi (Fa M), Galata Valsı (Do M), Salcı Zenciler Valsi (Fa M), Sular Valsi (Do M) olmak üzere elliüç tanedir. Nota muallimi Hacı Emin Bey'in bestelemiş olduğu bu elliüç eserin sekiz tanesi hariç diğerleri temin edilip belgelenmiştir. /

This post-graduate study of the Fine Art's majör in the field of art, the Traditional Turkish Music that is done in the Social Science Institute of istanbul Technical University includes the life of the first Turkish music engraver and editör Hacı Emin Efendi and ali the works he has published. The first step in the study was to collect the originals of the works of Hacı Emin Efendi Many researches were made in the various libraries and in the repertoire of TRT (Turkish Radio and Television). The old documents obtained, were translated from old Turkish to today's Turkish and some of his works whose originals weren't found were confirmed and obtained from the index of the original scripts obtained. The next step was to catalogue the works in hand. in the end of the research, it was observed that Hacı Emin Efendi had published 260 works of 87 different composers These 260 scripts were in the forms of peşrev, saz, semaî, sirto, şarkı, marş, polka, mazurka, and vals, with 30 different makams (collection of small tunes) and 22 different usul (tempo), Hacı Emin Efendi personally composed 53 works in the forms of peşrev, semaî, saz, şarkı, marş, vals, mazurka, kanto and polka, He had some of his works harmonized and ali together, they were published in seven different presshauses. Besides, it was also observed that most of the works of Hacı Emin Efendi were not included in the repertoire of TRT. The main purpose of this study was to draw attention on the importance of music publications which is likely to diminish in our days. Another purpose was, to introduce the forgotten historical documents önce again, to emphasize their importance in the history of Turkish music. That was why special çare was paid for introducing the documents in their original form. Music has existed throughout the history of humanity. When we look back at the history, the term `music` is found in Antique Grece where it was studied as a whole with poetry and dance. Since these terms were regarded as an inseparable unit, this three dimensioned ast was named as `The Art of muses` Music arose as the art of expressing the senses and thoughts through sounds and has survived along with humanity through ages Everyone did music. They did it according to customs by listening and there existed a great problem. While sounds IVwere transferred from mouths to ears, inevitable changes, interpretations were made by individuals and unfortunately most of the old tunes were forgotten in the course of time. How could it be made possible to keep music as original as it was introduced for the first time? Since music is formed out of sounds, they should have their own names; which are called as `notescrores`. There existed the problem of molding the sounds into vvriting just like molding the language articulated into writing. Beginning from BC 2500, various music writings occurred and it was only in the 16 th century when the foundations of preseni musical writing were founded. Hovvever, arriving at a general convention on the way of musical writing didn't solve the problem of keeping the originals of the music pieces through the ages. There was a great problem left unsolved, which was the problem of publiçation; that is to say, the problem of multiproduction of works. Till the 15 th century, the works were written by hand. Writing the works by hand was too much time consuming. Not many people knew how to write the notes and the ones that could, had to work on öne work for months. That was why the works were not produced m öre than five ör ten. Besides, while copying the works, individuals would make many mistakes. Thus, the first copy which was supposed to be the original of the piece of music, would be changed every time it was copied by someone else. Because of this reason, even the few number of works produced would not be identical. Moreover, the produced ones were owned by the very rich who kept them behind the great walls of the castles. They were so precious that they would be kept untouched for years. This was the case, till the beginning of 15 th century when Gutenberg started to work on publiçation in 1436. Starting from the 15 th century, the works began to be produced in the required amounts. 15 th century was certainly the turning point in the history of music. This new way of publiçation effected the present music immediately. in 1481, the first music pieces were published in Yenice and the music publiçation reached to our days with hundreds of press houses. The establishment of many music publishing houses in Europe meant many and various music publications taking place and the most important of ali was that some music culture was to be formed in public. Music was no longer in the rich men's world only, everyone was given the opportunity to enjoy music freely. V /in this manner, the pieces were being kept as original as they were first written by their engravers, and at the same time, millions of people were able to make use of them easily. ı When we take a look at the history of Turkish music, we see that we were late in practicing publication in music when compared to the western world. The press houses in Turkey had appeared in the era of Ahmet III. it was ibrahim Müteferrika who first introduced the printing house in istanbul. The first Turkish press house was established with the approval of Ahmet III in 1727 at the palace of ibrahim Müteferrika. The first book had begun to be arranged in the same year and was first published two years later, in 1729. Hundreds of books were published on various subjects after the first öne, however publication in music was not considered in those years. it was 146 years after Müteferrika, when the first Turkish music work was published in 1873. Before studying the publication in music, it is necessary to take a look at the modernization movements. The first modernization movement in music began with Sultan Mahmut II. During his era, the first western music instruction began in Mızıka-i Hümayun which was established with the approval of Mahmut II, and it was funded instead of the Mehterhane. Aftenvards, it was Sultan Abdülmecid I who started the second movement. He founded a music school at the palace in 1846. He brought two famous teachers from Italy, Donizetti and Guatelli Pashas who later became the tutors of Mızıka-i Hümayun and started `the Western music instruction in the palace in the real meaning. The most significant modernization movements in music were made in the era of Abdülmecid I. it is important to mention the fact that the modernization movements in music were not mere imitations of the west, Although foreign teachers like Donizetti and Guatelli were made the directors and tutors of Mızıka-i Hümayun where they taught Western music and although Turkish teachers like Hacı Emin Efendi (engraver at the same time) and Dikran Çuhacıyan who studied abroad and learned the structure of Western music, continued Western music instruction, they never behaved like mere imitators of Western music. These people are in fact significant names in the history of Turkish music, for they were the first ones who applied western music rules, in other words `harmonization`, to traditional Divan Music, though in a simple manner. The Constitutional movement was the turning point in the history of Turkish VImusic, no doubt. It was with the Constitutional movement in 1876 when the first Turkish music publications began to be considered. The same year, the famous Turkish engraver, Hacı Emin Efendi, published a 30 page engravers book which was considered `first` in the history of Turkish music, according to documents at hand. As mentioned before Hacı Emin Efendi is considered the first Turkish music engraver and at the same time, Turkish music editor in the history of Turkish music. He was born in 1845 in Beylerbeyi, Istanbul. After finishing primary school; he attended Mızıka-ı Hümayun in 1855. He was the student of Callisto Guatelli, the director and tutor of Mızıka-ı Hümayun, from whom he learned the structures of Western Music while studying the classical Divan music. Afterwards, he tried to inscribe the notes of the traditional Turkish music and soon published the works that he wrote in the same way as his teacher Callisto Guatelli's multivocal forms. He began publishing in 1876 with the `Fasil-partition` notes. Many of his published notes cores are the works of his teacher Callisto Guatelli's harmonized partitions for piano. He was giving a special care and importance to the engravers of the covers. Especially, his very successful assimilation of the figures of western and Turkish music instruments which appeared on almost every cover of the notes cores books he published, still has an outstanding place in the range of Turkish fine arts Moreover, the colorful covers of his publications can also be considered as a measure for that he took his business very seriously and paid great attention to everything he did as he enjoyed the pleasures of his success. Hacı Emin Efendi was busy with the preparations of the stereotype plates of the leaf notes, given as additions by a magazine named `malumat` while working on his own works in the publication house he had founded. This magazine, `Malumat`, was published in Istanbul by Artin and Baba Tahir in 1894 and 1895, respectively. The notes he worked on which were generally for piano, were large in dimensions. According to documents in hand, he had published about 200 notescores in Malumat. Meanwhile Hacı Emin Efendi dealt with some more notescore publications in another magazine, Servet-i Fiinun, which had also appeared in the same era with Malumat. Especially in Pictured Ottoman magazine, which was the addition of Servet-i Fiinun in the year 1895, a significant number of his notes cores was published. How many years Hacı Emin Efendi continued his publications during his life time is not know exactly. Yet, what is exact according to the documents in hand, is that he continued publication in his period, he composed preludes, popular songs vncomposed of a single stanza and various works for piano and he died in 1902 in Istanbul. The works of Hacı Emin Efendi in hand are: Peshrev in the mode Acemaşiran (rhytmic mode Hafif Düyek); Peshrev in the mode Sabâ (rhytmic mode Hafif Düyek); Peshrev in the mode Hicaz (rhytmic mode Hafif Düyek); Peshrev in the mode Nev- Edâ (rhytmic mode Fer); Peshrev in the mode Nihâvend (rhytmic mode Hafif Düyek); Saz Semaî in Nev-Edâ mode; Hicâzkâr Song (name of the piece: gülmek yaraşır gül yüzüne ey gül-i canım); Hüseynî Song (name of the piece: Dildâde oldum bir dil sitâne); Hüseynî Song (name of the piece: Yokdu gönülde bir zaman); Hüzzam Song (Bir gül-i ra'naya gönül bağladım); Hicâzkâr Song (name of the piece: Zâr oldu gönül nazre-i suzis eserinden), Nev-Edâ Song (name of the piece: Sazı aşkım dinleyin ey aşıkan); Nihâvend Song (name of the piece: Can hasta düşüp şiddet-i sevda-i serimden); Nihâvend Song (name of the piece: Yâd-ı cemâlinle gönül eylenir); Nihâvend Song (name of the piece: Izdırab-ı cana neden fehm eyledin) Rast Song (name of the piece: Ey benim âhû bakışlı dilberim); Rast Song (name of the piece: Bahar oldu açıl ey verd-i âlem); Rast Song (name of the piece: Dil nasıl bulsun teselli derd-i aşka ey peri); Sûznâk Song (name of the piece: Tâ ezelden sevdiğim bir aşk-ı sûzâna kim); Sûznâk Song (name of the piece: Müjdeler olsun sana ey şîvekâr); Hora Song (name of the piece: Mendili al eline); Mazurka Song (name of the piece: Gidelim Göksu'ya yarın gidelim); Polka Song (name of the piece: Bezme gelip duymadanel); Şarkılı Balo Valsi (name of the piece: Bir katra içen çeşme-i purhun-u fena dan ); Kanto Şarabiye (name of the piece: Olan miruz-i müptelâ belâ-yı hicr-i yâr ile); Sonbahar Kantosu (name of the piece: Sonbaharın zevki hoştur tut elinden yâri koştur); Vasfi, Marş (Re mi ); Nefceti, Marş (La m); Marş, Nudi; Harmancı, Marş (Sol m); Marş Ate (Sol m); Çoban, Marş (Sol m); Marş Lansiye (Sol m); Balıkçı, Mazurka (Do m); Afrika, Mazurka (Fa m); Çoban, Mazurka (Do m); Galata, Mazurka (Fa m); Sular, Mazurka (Do m); Gemici, Polka (Do m); Çayır, Polka (Fa m); Çoban, Polka (Do m); Galata, Polka (Fa m); Macuncu, Polka (Fa m); Sular, Polka (Fa m); Çayır, Vals (Fa m); Çoban, Vals (Fa m); Galata, Vals (Do m); Salcı Zenciler, Vals (Fa m); Sular, Vals (Do m). Except eight of the works in the above list, the works of the first Turkish music engraver and editor, Hacı Emin Efendi, were all studied individually and all were documented. vin