Türk müziği icrasında yönetim

Abstract

ÖZET Günümüzde, radyolardaki koro programlarının, artması, cemiyet, dernek, okul ve devlet korolarının çoğalması üzerine, icrada ve yorumda birliği sağlayabilecek, şef formasyonuna sahip müzisyenlere duyulan ihtiyacı büyütmüştür. Bu sebeple, Osmanlı döneminden beri Türkiye'de var olan müzik türlerine özgü yönetim biçimlerini araştırarak, çok zengin usullerimizden küçük usullerin, Batı'lı tarzda, elle veya bagetle vuruluşunu grafikler halinde tesbit etmek, bu çalışmaya konu olarak seçildi. Bu çalışmada, öncelikle müzik tarihi boyunca, yönetim biçiminin gelişimi, yönetici (şef) kavramı, özellikleri ve görevleri incelendi. Daha sonra, müzik tarihimiz boyunca, değişik mekanlardaki çeşitli Türk müziği gruplarının tesbiti ve bu grupların icra sırasındaki birlik ve beraberliği sağlamak için kullandığı yönetim biçimini araştırmak, ana hedef oldu. Daha sonra, bir müziğin iskeleti olan ritm konusuna, Türk müziği açısından yaklaşarak, müziğimizin ritm öğesini oluşturan usullerimiz, kavram ve çeşitleri açısından ele alındı. Ayrıca bu çalışmadaki önemli bir amaç ise, günümüzde Türk müziği icra eden bir topluluk şefinin, öncelikle ritm birliğini sağlamak için, çok zengin usullerimizden, küçük usuller bölümüne giren usulleri, Batı tekniğine göre, çeşitli mertebeleri de göz önüne alınarak, el ile ne şekilde vurması gerektiğine dair gerekli grafikleri çıkarmak oldu. Bu grafiklerin çıkartılması sırasında, usullerin zaman sayısının değil, giderlerinin (yani hızlarının) önemli olduğu, ayrıca bazı usullerin, mertebesi değişmediği halde birkaç şekilde gösterilebildiği tesbit edildi. Bu çalışmamın, halen eğitim yapılan kompozisyon bölümleri ile açılmasını dilediğimiz ve önerdiğimiz şeflik eğitimi verecek birimlerde, Türk usullerinin vuruluş tekniği bakımından, temel bir ihtiyacı karşılayacağını umuyorum. V

SUMMARY The following is a short summary of the study bearing the title `CONDUCTING TURKISH MUSIC`, presented to the Social Sciences Institute of the Technical University of Istanbul for the proficiency in Arts (Doctorate level). Thanks to its many efficient composers, Turkish Clasiccal Music has a substantial repertoire which has been, and still is being, performed by various assemblies in various settings. The necessity of providing unity and uniformity during performances has shown itself in many ways through the course of history of music. Just as a good leader is necessary for any musical assembly before and during performances. Currently, as the number of state, school and public choruses increased, the need for musicians of conductor formation to achieve unity of interpretation and performance has also increased. It is the aim of this study, therefore, to research methods of conduction peculiar to Turkish Classical Music since the reign of the Ottoman Empire, to establish a technique of beating time with or without a baton, and to display the technique on graphs. Of the rich collection of rhythms available, only those classified as `small rhythms` have been subject to this study. The techniques have been derived from those used in Western Classical Music. In this research, first of all, the development of the art of conduction, the `conductor` concept, and the specifications and duties of a conductor have been studied. It was found that the idea of conducting a performance dates back to Ancient Egypt. In the hands of the Ancient Greeks, it has achieved cosiderable variety, and since then has undergone various stages of evolution. Not every musician has expressive hands, high accuracy of hearing to achieve harmony and sound balance, the ability to `see` music in the VImind's eye, to communicate ideas and feelings nonverbally, or to use pedagogically and psychologically right methods to manage a group of people. It is, however, a must that a conductor possess all of these abilities. The section on the conductor dwelves on these essential characteristics of a good conductor. The conductor has two main responsibilities related to the actual performance: to beat the time in such a way as to indicate to the musicians the tempo and stresses of the rhythm, and to convey artistic goals through relevant body language during performances, and verbal reminders during rehearsals. These have been studied in addition to the aforementioned six characterises. The next topic studied involves the evolution of methods of silent measure indication through time and methods used today, the use, measures, properties and significance of conducting rods, namely batons. In the notation of Western Classical Music, scores are used to show the parts to be played by each of the instruments. The relationship between the conductor and the score has been taken up under the heading `BATI MÜZİ?İ İCRASINDA YÖNETİM` (Conduction of Western Classical Music). In the following section, the goal was to determine types of assembles that performed Turkish Classical Music in various settings and to research methods of conduction employed through time in these assembles to achieve unity and uniformity. It was observed that there were a number of varieties of music which were distinguishable from one another by only small differences, and that assembles of performers of each variety employed methods of conduction peculiar to their particular variety. The following main varieties of music have been studied under the caption `TÜRK MÜZİ?İ İCRASINDA YÖNETİM` (Conduction of Turkish Classical Music): the Mehter (military band) the Tekke müziği (music of religios cults), music performed in the palace and the homes of members of the aristocracy, and Aşık müziği (music of the minstrels). This caption is subdivided into two headings: Religious music and non-religious music. Under the heading `DİNİ MÜZİK İCRASINDA YÖNETİM` (Conducting Religious Music), conduction of performances in mosques and `tekke`s have been examined. Under the heading `DİNDIŞI VIIMÜZİK İCRASINDA YÖNETİM` (Conducting Non-religious Music), conduction of performances of military bands at home or at war sites, of other assembles at palaces or homes of aristocrats, at radio or concert halls, minstrel coffee-houses, folk festivals and entertainment houses have been examined. It was understood that, of these various assembles, only those which performed at radio or concert halls were conducted in the manner of the Western Classical Music is conducted. In the remaining seven assembles, the conductor actually partakes in the performance with his instrument or voice. In military music, the Mehterbaşı (leader of mehter), in mosques the Müezzin (person who calls Muslims to pray with EZAN five times a day), in tekkes, the cult leader or Zâkirbaşı; in palace assembles the Serhânende (lead singer), in minstrel coffee-houses the most experienced minstrel, in folk festivals the most experienced folk dancer conducts the assemble he is in. He may use his instrument, voice,eyes or body language. The next step was to study the concept of rhythm as the backbone of music-from the point of view of Turkish Classical Music and concepts and kinds of rhythms peculiar to our music. The definitions of rhythm by various musicians, the traditional method of beating time for rhythms of Turkish Music, the concept and naming of Mertebe (tempo), and the classification of rhythms according to quality and size were given under the caption `TÜRK MÜZİ?İNDE USULLER` (Rhythm in Turkish Music). Another important goal was to show graphically how to beat the various rhythms of Turkish Classical Music. Of the rich collection of rhythms used in Turkish Music, those that fall under the category of `small rhythms` have been selected: Nim Sofyan (2-time), Semai (3-time), Sofyan (4-time), Türk Aksağı (5 -time), Yürük Semai (6-time), Devr-i Hindi, Devr-i Turan (7-time), Düyek, Müsemmen (8-time), Aksak, Evfer, Raks Aksağı, Oynak (9-time), Aksak Semai, Lenk Fahte, Cengi Harbî (10-time), Tek Vuruş (11-time), Firenkçin, Nim Çenber, İkiz Aksak (12-time), Nim Evsat, Şarkı Devr-i Revanı, Bektaşi Devr-i Revanı (13-time), Devr-i Revân (14-time), and Raksan (15-time). For this purpose, first the traditional technique, then the proposed technique derived from the western technique of beating time has been shown. VIIITwo graphs for 2-time Nim Sofyan, 3 for 3-time Semai, 3 for 4-time Sofyan, 2 for 5-time Türk Aksağı, 4 for 6-time Yürük Semai, 3 for 7-time Devr-i Hindi and Devr-i Turan, 2 for 8-time Düyek, 3 for 8-time Müsemmen, 3 for 9-time Aksak and Raks Aksağı, 2 for 9-time Evfer, 6 for 9-time Oynak, 4 for 10-time Aksak Semai, Lenk Fahte and Cengi Harbî, 5 for 11 -time Tek Vuruş, 3 for 12-time Frenkçin, 4 for 12-time Nim Çenber and İkiz Aksak, 4 for 13 -time Nim Evsat and Bektaşi Devr-i Revanı, 5 for 13 -time Şarkı Devr-i Revanı, 4 for 14-time Devr-i Revân and 5 for 1 5-time Raksan have been used. In addition to the graphs, a few measures of compositions in the various tempos (mertebe) of each rhythm have been given. During the research, it has also been found that for some tempos no composition existed. For those tempos with no sample, only the graphs have been given. While the graps were being drawn, it has been understood that the tempo of rhythms were more important than the actual number of beats. For instance, a slow 3/4 semai rhythm is shown by three distinct moves of the arm in a triangle, whereas a fast 3/4 is shown with a single downwards move. In graphics, the motions are shown as a triangle and a perpendicular line, respectively. The same rule holds true for aksak. For a slow aksak, the arm should move through the motions of 4/4, 2/4 and 3/4 patterns respectively. For a fast aksak, however, the whole rhythm is divided into the beats of a regular 4/4 pattern. Some rhythms may be shown by more than one pattern, although the tempo remains the same. The conductor will select the most suitable pattern in terms of aesthetics and comfort. For instance, the oynak, a fast- tempo rhythm, can be shown in two different ways; the conductor will select one to his own taste. Sometimes, if the melody so decrees, more than one pattern of beating a rhythm may be used in a single composition. Conductors of Western Classical Music were once, like conductors of Turkish Classical Music, partakers in performances. In time, however, conducting has become a vocation in its own right in the West. The concept of conduction as we know it today has taken its final shape in the 19 th. century, as a result of a long period of evolution. Turkish musicians have not taken an interest in the concept until the second half of the 19 th. century, and since then, it has not been possible to set a stable standard of IXconduction. The idea of a separate member conducting a performing body of musicians has entered Turkish music through western influences. In the research, it was seen that the first conductor to use the western technique of conducting in Turkish music was Santûri Miralay Hilmi Bey (18207-1895). Hilmi Bey was also the founder of the FASL-I CEDİD assembly. However, since this assembly never appeared before the public, we thought it more suitable to give the honors to Ali Rıfat Çağatay (1867-1935). He conducted the ŞARK MUSİKİ CEMİYETİ KOROSU (Eastern music choral assembly) in the `Cemil Concert` given in 1920. In this concert, he added instruments used in Western Classical Music to the traditional instruments of Turkish Classical Music. Another novelty he tried in the concert was the use of the baton in conducting. After Çağatay, Hoca Ziya Bey (1877-1923), conductor of the choral assembly of DARU'L- ELHAN (school of music), used this technique. This conduction technique has later spread by the establishment of the Radio of İstanbul in 1926 and the Radio of Ankara 1927. These radio stations, in turn, established many choruses of different constitutions. As a result of being praticed in these radio choruses, the western technique of conducting became a part of Turkish musical life, along with traditional methods. The step in this direction was made bythe famous tanbur virtuoso Cemil Bey (1871-1916)'s son, Mes'ud Cemil Bey (1902-1963). He formed the TARİHİ TÜRK MUSİKİSİ ERKEKLER KOROSU (Turkish Historical Music Male Chorus) in 1938. The significance of this chorus is that it is the first to be formed in compliance with western standards. Today many amateur and professional assemblies perform to audiences. In all these assemblies, there is a conductor standing before the performers. It is clearly visible to even non-professional audiences that the motions of these conductors are not in perfect harmony with the score or the performers, and the audiences cannot help but wonder whether these people are really necessary in a concert. The reason for such incapability lies within the fact that none of these conductors have received a special training for conducting. Unfortunately, in conservatories there still is no faculty to train musicians in the art of conducting, although one of their main goals is to create choruses and orchestras for which different scores will be written for each voice range and instrument. It is our hope that this deficiency will soon be remedied. XOnly then, the existing classical repertoire as well as the new compositions of young composers can be performed in the standards of modern performance. I hope this study will meet basic needs for teaching how to beat the rhythms of Turkish Classical Music in the now existing faculty of composition and the longed-for faculty of conduction. XI