Müziğin dünyadaki gelişim süreci içinde Türk müziğinin yeri ve problemleri

Abstract

ÖZET Bu çalışmada, müziğin dünyadaki gelişim süreci içinde Türk Müziği'nin yeri ve problemleri konusu araştırılmıştır. Önce mukayese yönünden genel olarak müziğin dünyadaki gelişimine değinilmiş, bu konuda ilkçağlardan başlayarak halen devam eden çalışmalar, müziğin çeşitli uluslarda ve çeşitli dönemlerde geçirdiği evrimler, halk ve sanat müziği ilişkileri, müzik ve din ilişkileri, teknik gelişmeler, çeşitli terimlerin doğuşu, sanat akımları üzerinde durulmuştur. Birinci bölümde müzik eğitiminin amacına değinilerek bununla birlikte müziğin tarihçesi, çeşitli tür müzikler hakkında bilgiler verilmiştir. Ayrıca bu bölümde ilkçağlarda çeşitli uluslardaki müziğe, müziğin doğuşu konusundaki teorilere de yer verilmiştir. İkinci bölümde ortaçağdan itibaren yirminci yüzyıla gelene kadar müziğin geçirdiği dönemler, batıdaki lise müziği ile başlayan çokseslilik, çeşitli müzik biçimleri, nota yazımları, teknolojik gelişmenin müziğe etkisi incelenmiştir. Üçüncü ve son bölümde Türk Müziği'nin tarihçesi, Türk toplum hayatında mûsikî oluşumu, Türk müzik terimleri, makam ve usulleri, beste çeşitleri, dönemler ve gelişim sürecindeki önemli noktalar, nazariyat çalışmaları, çoksesli müzikle ilişkileri, diğer müzik sistemlerinden farklılıkları, bugün içinde bulunduğu problemler ve mûsikîmizin daha iyi bir noktaya gelmesi için varılan sonuçlar ile çözüm ve öneriler yer almaktadır. v

SUMMARY PLACE OF TURKISH MUSIC AND IT'S PROBLEM'S DURİNG DEVELOPMENT OF MUSIC İN THE WORLD in this study, place of Turkish music during development of music in the world and it's problem's researched. Before main theme, touched on generally development of music in the world so that compare; meanwhile for antiquity times the oretical studies that have been done so for and stili continuing have enlightened and evalutions of music in various nations and periods, connections between folk and art music, effects of religion to music, technological developments, emergence of various terms about music, movements of art are examined. in the first part, touched on aim of education of music; also short history of music, various kinds of music; for example, classic, romantic, folk, religious music are examined. These kind of music are present in our music too. However, in this part touched on music of antiquity times, theories concerning emergence of music. Musical sounds existed millions of years before there was a human ear to hear them: the soft bubbling of the water, the roll of thunder, the whis pering and rustling of leaves in the wind; and who knows how many other audible manifestations of nature. -VI-Religious rites and music were inseparable at the dawn of humanity. The power of music över the human mind has been great ever since. Primitive man had but few words at his disposal. To give voice to his feelings, he had recourse to sound and so found his way to music. it enabled him to express his evvaltatio, his fondness for dancing, his mourning, his love, his warlike instincts and his belief in a supreme power. Music became part of his life. Melody and rhythm were his constant companion. History of mankind from ancient times to the very preseni is full of examples testifying to the power of music. Music is as old as mankind. Together with the dance, it is the oldest of ali arts, although primitive man was unable to conceive it as such because the term art was as yet unknovra to him. Nevertheless, it's history is the shortest and newest of ali. We have monuments made of metal ör stone, bearing testimony to vanished cultures. Thousand year old poems, legends and philosophies enable us to construe a mental image of for off epochs. We know mighty little of the music of ancient times. We can read about it in old learned books on religion, philosophy, mathematics, astronomy, aesthetics. Strange to, say music has an important part in ali of them. Old poems, fables, legends and fairy tales of many nations mention it. The Bible Speaks of it, it is found in the ancient tales of China and in the traditions of the American Indian. There are references to it's beauty, its magic, its power. Nobody knows concerning what may it have sounded like. The study of primitive music doesn't support such ethnocentric assumptions and reminds us that a materially simple culture. There have been various ideas about the oringins of music. Darwin thought that singing began with imitating animal cries, for Rousseau that the origin of song was in speaking with a raised voice. Others have though that music originated with rhythm ör work rhythms. Stili others believed that music had the same origins as speech, both beginning with sound communication. The earliest scales were probafely groups of notes which evolved by -vn-filling in simple, easily recognizable intervals of fourths and fifths which occurred when people song to gether. in primitive choral singing, it is common for each singer to sing his ör her own version of the tüne rather than sing exactly what everyone else is singing. First enstruments were often adaptations of existing implements which had other uses. Rhythms instruments seem to have developed first, to accompany singing and dancing, and melody instruments came later. Western musical theory is usually assumed to date from the ancient Greeks, but there is no doubt that they, in turn, took their ideas about music from ancient Mesopotamia and Egypt. The ancient Chinese and indians, as well as the Mesopotamians and Egyptians, knew the consonant intervals of octave, fifth and fourth and made them the starting point of various scale systems, including ultimately our own. The ancients had no conception of relating pitch to frequency, but they worked out the relationship between notes of different pitches and the string ör pipe lengths needed to produce them. in the second part, evolutions of music for medieval times untill twentieth century; polyphonie which was emergenced with church music in west, various forms of music, spellings of note, effect of technological developments to music are examined. The Middle Ages and Renaissance cover more than a thousand years of European history, from the collapse of the western Roman Empire to the beginning of the seventeenth century and the start of modern times. The style which began to develop in the ninth century and which reached its height in the Renaissance is vocal polyphony. The subtlety of polyphony can be easily missed by ears accustomed to the mainly homophonic music of later periods, in which a top line is supported by subor dinate parts moving in chordal blocks. Polphony was written not in fixed majör ör minör keys, but in different sections, ör modes, of öne diatonic -Vffl-scale. The starting point for the development of polyphony was the church plaing song, or plain chant, of the Middle Ages. This was unaccompanied, single-line music, sung in unison, which stemmed from Greek or Jewish sources. Gregorian chant, the body of plainsong codified by Pope Gregory in the 6th century AD, is still the standard chant of the Catholic Church. It perfectly expresses the Latin words of the liturgy. The first elaboration of plainsong was to par allel to plainsong melody inbore intervals of octaves. This was called organum. The next step, taken by about the 10th century, was to enrich the spare harmony of organum with thirds and sixths. This device came from seculor music, were it was called fauxbourdon. Then a free-moving, sometimes improvised part called the discantus was added above the melody. The rise of polyphonic composition depended on the development of adequate ways of describing and notating musical sounds. The Greeks had used letter names for the notes of the scale, and this system was passed on to Medieval Europe by Boethius. (AD470-525) From about seventh century, the system of neumes began to be used as an approximate notation for ploinsong. Outside the Church, everyday musicianship in the early Middle Ages was part of the stock-in trade of the wandering jangleurs, who amused the peasants, nobles and townspeople with singing. However, poetry and music thereby gained a new popularity, a quality never achieved by Latin ecclesiastical chants. Middle Ages was the picturesque time of minstrelsysolso. In Renaissance, education of music was present in schools in Europe. Then the age of classicism was seemed. In musical terms, it may be defined as the attempt to create music which is formal, strict in proportation and moderate in expression. After the age of classicism, composers inevitably began to seek ways of extending the boundories that any developed from imposes. In the romantic age, musicians sought to express emotion through music in a more direct way than had been thought desirable before. By the end of the 1800's, in Europe and America popular music was reached. For example; jazz, electronic, -DC-folk music... In the third and final part, studied on history of Turkish music, emergence of music in our society, Turkish music terms, harmonies and rhythms, systems of note and sound, various forms, important points on its progress and periods, studies of theory, connections with polyphonic music, different points than the other music systems, it's present problems in this age and included results and suggestions so that its arrival to better place. Hundreds of years ago, many science and fine arts was development in Turkish society but art of music and it's education was not present. Most important problem is education in our music. The oretical studies that have been done so for showed us concerning what our generation and the coming generations can add to our-self music. Our music; it's history and problem's must be presented to students whf^ Jr want to go deep into musicology can grow. However, in this part, touched on connections our music with the other science and art. (Effect of religion, philosophy, physicology, aesthetics, literature on our music are examined). Our music is most important points of our culture. Students who wants to go deep into musicology have to learn their own music, and however music of the world. Music has always had a place - even a central place in Western education. It must take a place in our education too. Every artist and thinker must to learn a knowledge of our musical theory, history of our music, different points than the other music systems. Because, aim of this study is to give a basic knowledge for who wants to do research into musicology. -x-