Tanburi Mustafa Çavuş`un eserlerinin incelenmesi ve bugünün şarkılarına bir bakış

Abstract

ÖZET Sanatta yeterlik olarak hazırlanan bu tezde, Türk müziğinin bilinen ilk büyük Şarkı bestekârı olan Tanbûrî Mustafa Çavuş'un şarkıları elden geldiğince toparlandı, incelendi, bugünkü şarkılarla karşılaştırılarak, benzeyen- benzemeyen yönler ile, Mustafa Çavuş'un besteciliği orta ya konulmaya çalışıldı. Giriş bölümünden sonra gelen bölümde Tanbûrî Mus tafa Çavuş'un hayatı, o devirde Osmanlı İmparatorluğu 'nun durumu, sanatı-kültürü-müziği, Mustafa Çavuş'tan önceki ve çağdaşı bâzı önemli sözlü eser bestekârlarının hayatları ve eserleri ile, Mustafa Çavuş'un şarkılarının yapısı an latıldı. Sonraki bölümde, bugünkü şarkılardan, TRT'nin 25. Kuruluş Yıldönümü Beste Yarışması ' nda ödül ve mansiyon a- lan bâzı şarkılarla, repertuara giren bâzı şarkılardan ve 1.4. 1989-20. A. 1992 tarihleri arasında repertuara en fazla şarkısı giren bâzı bestekârların şarkılarından örnekler verildi. Devamında ise, bir karşılaştırma yapıldı ve düşü nülenler sonuç bölümünde söylendi. vı

SUMMARY Although Turkish society with its rich historical heritage of culture has had its ups and downs in history since its inception, music has at all times been an in tegral part of its way of life. Master composers of classical Turkish music have created valuable works and upkepk this art alive and have acted as the milestones of this most advanced monophonic music, One of these miie- stones of such music is Tanbûrî Mustafa Çavuş. Although the most popular forms ofmusic of his times were Kâr, Beste, Semaî etc., he composed songs that are regarded as classical in comparison to the songs of our day and has become one of the important composers in his field. His style was tried to be emulated by many, but his music has been able to reach our day without losing any of its ori ginality. In this treatise that has been prepared for profi ciency in arts, a Doctorate, the composer aspect of Tan bûrî Mustafa Çvauş, one of the most valuable composers that lived during the second half of XVII. Century and the first half of XVIII. Century has been tried to be brought to light. What has been tried to achieve here was to collect as far as possible the works of Tanbûrî Mustafa Çavuş whose other forms of music are yet unknown. His music sheets thatcoult be detected have been examined as to their form, libretto, melody, rhy thm-cadance. Since the most important side of the treatise is the musical charac ter of Mustafa Çavuş, it has been attempted as much as possible to examine his songs xith special emphasis on the features of his achievements as a composer. When starting the treatise, it was first attampted to acquaint ourselves with the times of Tanbûrî Mustafa çavuş and brief life histories of composers that lived before and during his time and their text works were men tioned. Also, the general life style and arts-culture- music during those times and even earlier and later peri ods have been touched upon. Since Tanbûrî Mustafa Çavuş was a songwriter, the song form was generayyl examined and then perusal of in dividual songs was commenced. Before going into this study, previous works on his personality have also been mentioned. Music sheets of the exsamined songs obtained from other sources and a list of songs have been given and at the end of that chapter with the results of the study VI 1explained. In studying the songs, initially the source music sheet was introducet. Sources that were not readily le gible had to be written again. The sheet in corrected form was presented first to be followed immediately by the original copy. After the music sheet, texts from different sources were included with Turkish equivalents of foreign words after which the libretto, melody, rhythm, form and style were studied. In examing the text, rhyme and meter characteristics were dwelled upon. In studying the melody, tonal relations, how they were used and melo dic structure were analyzed. During analyzing of the form, its style and structure were examined. Finally, the compatibility of the form and the rhythmic pattern was scrutinized. After all this studies, the libretto, form, tonal relations, rhytmic pattern, interaction between no tes, and mutual points between notes, and mutual points between the songs were noted. In Chapter 3, a study was made of the present Turkish music and its song structure examined. As in the previous Chapter, the music medium as it stands today was first touched upon and general trends on texts, form, melody, tonal relations, rhythm and its pattern were explained. While examining the songs of our day samples were taken from the repertory of TRT ( Turkish Radio and Television Network ). In selecting these samples, works that have received awards and appreciation for the occasion 25 Anniversary of TRT and others that are already in the re pertory of the Network were benefitted from. The reason for choosing TRT for this purpose was the fact that this institute is the only source that seriously surveys the songs. Furthermore, samples were taken of those composers whose works have been admitted into the repertory of TRT most often in the last three years. In this study prosody was taken into consideration. The topic of how TRT, which emphatically stresses prosody, appraises this item in its evaluations was studied. Since the music presently in the market vary greatly and the songs it produces carry features that are not worthy of aserious study and are not within the scope of our attention was mentioned slighly in passing. In the 4'th and the last of the works of Tanbûrî Mustafa present day was made, they were standpoint of their musical leve that their forms are similar, bo songs. As known, Mustafa Çavuş composer of the song form. Aft successfully used the song form forms of music of music have dis the only form of music that has our day. This is the reason for Chapter where a comparison Çavuş and songs of our not compared from the Is, but from the fact th being in the form of is the first important er this composer has 300 years ago, other appeared and songs are dominated the music of the comparison. vmThe songs of present day have been compared with those of Mustafa Çavuş in terms öf texst, form, melody, tonal realitions cadence, rhythm and rhythmic pattern. Because these tropics had been dealt with earlier, the comparison this time was made in itemized form and only the outline was stressed. At the end of the Chapter, The factors that affected composition at the time of Tan- bûrî Mustafa Çavuş and the present times were examined. In the conclusion Chapter, all these topics were combined to bring out the character of Tanbûrî Mustafa Çavuş as a composer. IX