Refik Fersan`ın 10 saz eserinin incelemesi

Abstract

Bu tez çalışmasında Refik Fersan'ın, Hicaz, Rast, Kürdi, Hisar» Eviç peşrevleri, Acem Asiran, Nikriz, Sultani Yegah Kürdi saz semaileri ve Nikriz Sirtosu incelenmiştir. Analizler Doç. Mutlu Torun'un, `analiz` ders notları esas alınarak yapılmıştır. İncelenen eserler, saz eseri olduğu için, analizde güfte incelemesi yoktur. Yapılan analizlerde bestekârın batı müziğini de çok iyi bildiği anlaşılmaktadır. Batı Müziğinin birçok figürünü Türk Müziği makamları içinde ustalıkla kullanmıştır. Eserler, ilk önce` ilk bilgiler` kısmında ele alınmış, bu kısımda, notaya karşıdan ilk bakışta görülen dış hatlar incelenmiştir. Bundan sonra `eserin bütününe bakış` kısmında, eser biraz daha inceye inilerek, konular açılmaya başlanmıştır. Bu kısımda artık devreye form girmiş ve bahislerde `cümle`, `cümle parçacığı` gibi terimler kullanılmaya başlamıştır. `Yakından bakış` kısmında ise Period, cümle ve cümle parçacıklarında ölçülere, hatta ölçülerde motiflere kadar inilmiştir.

In this thesis study Refik Fersan's Hicaz, Rast, Kürdi, Hisar and Eviç preludes, Acem Âsiran, Nikriz, Sultani Yegah, Kürdi musical enstrument poetic forms and Nikriz dans has been studied. This study has been done mainly an `analysis` class no tes by Mutlu Torun. As all the pieces are instrumentary, ken into account in this study. lyrics has not been ta li t has been found out that the composer has remerkable know ledge on western music. Several figures of western music have been expertly penetrated in turkish music harmony The musical pieces have been studied rougly-namely the very first sight-in the `introductory part`. The pieces have been studied more detailed in the `General Outlook Part`. In this part the form has been studied and the terms like `sentence` and `sentence particles` have been started to be used. In the `Closer Look Part` the periods, sentsence, sentence particles, measures and even the motives in measures have been studied. RAST OVERTURE: Composer has been very often west music motiffs used in that overture. Handel ing of the trace as form angle. The trace as classical overture, form style, there are four column and after every four each phaces measured. Question has asked every four measure, or answered. General sage of the trace 2's and 4's note banding. In that case motiff compressions few and far between. It has generaiy quiet atmosphear been wought. If handeling of the melodick side, in particular every column and aprantice as folowing: Dugah and Segah Maye mode appe- arence so often has been used in that trace. Generaiy Rast mode style has been circuleted.If we are able to look araund rhythmic's, the trace the uttermost symmetrical has been wought. The style in four each form than symmetrism has circulated with that positions. Compo ser has been west figurs used, that's a rieason sometimes style, has seems (Sencop-Triole) has being berakdown. HIJAZ OVERTURE: Composer has in trace classical norms style been used in that overture. If we hande ling the trace as form angle as. It's looklikes as classical overture and Rast overture as instrumental forms' in it. Styled as much as symmetrical that means four each and pharece and some has one quested (asked) or one answering and of the total phareces. In that trace has the note 32 ' s and 8' s saged. Which has been used motiffs in that value has be able to seems, hastly and oftenly can see thats made crowded in trace. If we handeling it as melodies side, the composer all the family of Hijaz it's very little. Upper and down took of the attentions as molodical shapa of as steps dired. If we handel ti as rhythmics, it's light forms as symmetrica Is forming. Same forms has been used also in Rast overture. Style of the form has been breakdown step form canbe able to see every trace's of the composer. KURDÎ OVERTURE: In that overture as classicalstyle alingment has been used in with a classical s forms. If we look at in angle of form, age in symmetrica Is form builded up with seven each sized phareces. Form style again as instrumental and overture ways being putt in. It as traditional music as sized with be touching space has been used. Througth voice has used very little term. The trace generaly has with in quiet charecteristicks been made and there is no creatived and actions. VIMode has staid in Kurdi mode, alingment of the faraway doesnot made. As we handle it as rhythm, it has be able to finis hed with fastrhythm before as all overtures as well as columns with two perpetuate form and aprentice. form style has not been breakdown only few sized fare. There is no made any kind of action or congested, beceause of it's follows with quiet note's in it. EVIÇ OVERTURE: Composer untill here he has in all overture classical form been used. In that overture he's got out of the classicals form beceause he, has been used an other kind of form styled and of the overture column. The overture's norma ly begin one of the form style also the ending only one form style. Here the last column composored with a dif frentkindf of forms. Also that's form has been used in Hisar overture. First three column an aprentice as symmetrical form perpetuate made» and other trace which has been made with perpetuated seven each sized also has used in here too. Composer has in last column complately different style been used, and that form made some's ostetatition ether. Also form style and size surely here been chenged. If hande ling melodical style. The trace here has wathced as Evic mode. General twice space of the diatonik has been used congested there does not made. Investigate of rhythmics style, as composer said that trace he got tryed be out the classical forms, that s mean has it using different form style, in last column be able to seems. HI SAR OVERTURE: Evic overture style form also has been used in that overture ether. First column an aprentice. has perpetuate been used, in itself as symmetricals, last column has fast-rhythm been made. It's cause of breakdown of the symmetricals. If hande ling of form type, as other perpetuate trace be, seven each size formstyle used, and complately symmetrical was got. Also last column has been very differen kind of form style en in it-self symmetrical tryed to used. To find of own symmetri cal arms, wrought. VIIHande ling as melodycals, generaly has circulated of the mode of Hisar as Hisar melody 'Some of the column has tryed of an other mode thatbeen seems and - get in to main mode style. Investigate of rhythmics, it's made of same form of the Evic overture first three column and aprentice has perpetuate and last column-bee ı ng fast-rhtythm made, there is no any kind of breakdown in perpetuate only few (senkop and triole) does not made any tempo 's-The tempo of the fast-rhythm was exelently and marvel lious if the humenbeens does not knew any kind of form tempo, as soon as it's can understand in the style. Enstrumentals Of The ACEM ASIRAN: Composer has it that trace so many west music figurs been used and he's abstractk trace brought out. Composer has used that west figurs as goot as well in turkish-music it complately exelent, no one can use the same style as well as him. Which has been using (senkop-and-triole) be located couple of different place located, in that trace composer let's knew how he creativity and untnerstable positions can find on formal i sat ions. Than it means however he knew also west music aswell as turkish music too. He used in that trace very good of the somekind fo the musicals enstruments plays as single some part of the trace which we called in turkish music `Great cormoratn` of Quagmire. Hande ling of the melody, the trace as meaning mode Acem Asiran been watched. Small change in the columns alingment has tough but generaly most of the part's is in Acem Asiran mode. Background of melodycaly mode in notes has used but fluidity does not pushed back-plane. Handeling of the rhythmics side, Cb, classical-enstrumental been used as well as 10/8' s Aksak enstrumental and 6/8' s Yuruk Sernai enstrumental music (last column) form made it. To many senkops adeditive that form style general depravation, specialy fourth column 8's troleses as the made. Enstrumental Of The NÎKRÎZ: Composer has get out of the classical form moud in that trace too. Classically form moud/of moution as enstrumentals. First three column and aprantice 10/8' s Aksak enstrumental style last column Yuruk Semai enstrumental styling can might mades. VIIIComposer has here first three column and aprantice same style of as Aksak been used, but last column has be able to change 9/8' s completely Aksak style has used. Here againist the other form's and aprantice and symmetri ca Is has been very well wourght. Last column also in itsel symmetricals. Last two size can made little demace of the forming style but returning pause it's as positions of helper size point. Hande ling of the melodicaly side, mode has as Nikriz mode used. At Evic as Segah» Gerdaniye and Rast as Çargah, also certain of Buselik which is seems as Segah staying been made. Repeating to much ni trace, specialy springing of the Rast- Neva as the ageinregon Zeybek ' s feelings ecolisation fare. Investigate of the rhythmics, built as composer said that, different kind of the style has been used. But last column has also taking long-distance/temaine. Style of the last column from 9/8' s looklikes as playing/ jumper types as Aksak families. The begin poin of the passing from 10/8' s to 9/8' s last three size as dancinf /player style as well. That's reason style column to the untill ending all three 8's notes going to for front of it. Enstrümantal Of The SULTANI YEGAH; Enstrumental of the Sultani Yegah it, s following as well as the classicals forms well. It's one of the smaller trace which has been pharaces made two ech sized forms. Last columnof Yuruk Semai, has got smollest than the other. 3/4 form has used as before an other one too. End of the last part has 6/4' s Sengin Semai enstrumentals form been used. Investigate of malodycals build, as Sultani Yegah mode has verywell shape been watched. Whenever using of the mode genera ly Hicaz family been used there rhythmics built very different. First three column and aprantice has classical Aksak Semai style been made. Fourth column also in side has two kind of style last column in more pert is 3/4' s semai last part is as 6/4' s Sengin Semai as wel 1. IXThere is little deprevation with trioles in Aksak Semai but. Last part there is no any kind of demace or breakdown. Enstrümantal Of The KURD I : Composer in that trace has exit as classicals forms as Aksak Semai style been made, but in the last column again he used an other style that demace of the classical ism. First three column and aprantice two each size with 2 pharace small form been wourght» Last column as Ceng-i Harbi style be composered. Last column agains in different form well. Begining two sized etrance part have in it. That part has different places been repeated as well as same. If we look to the melody. First three column circulated nearly parts of the Neva, Circulated in column with mode alling- ment has made buk Kurdi mode only cleared end of the column. In fourth column circulated with cortain of the mode Neva and Diigah as up-and-down. Hande ling of the rhythmics build as. Composer as the said before as wel as that. All traces ending part out of the classi cals desighn. Also here last column has Ceng-i Harbi style been made. There is no any deprevation in trace well. NİKRİZ SÎRTO: Correctebility of this trace not column by column but there parts of investigate be quiet well. Beceause there no porpusion to put any of the forming style as well. Also can not handeling with free-style too but it has so symmetricals ether as well. If we are going to look at the melodyc build as. Mode has been wourght as Nikriz mode. Alingmens of the trace has well made it. One each form has used in melodycals following. Mode of the Nikriz very often alingment of Segah has much use for the passin as wish as well. Rhythmics style again has handeled with diffwerent way. First two parts 2/4' s Sofyan and last part of it Devr-i Turan (Turan 's perriod) style has made it. Style system's a little has been deprevationed. X