Çok Sesli Türk Müziği Bestecilerinin Eserlerinde
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The Journal of Academic Social Science Studies International Journal of Social Science Doi number:http://dx.doi.org/10.9761/JASSS7988 Number: 74 , p. 271-287, Spring 2019 Araştırma Makalesi / Research Article Yayın Süreci / Publication Process Yayın Geliş Tarihi / Article Arrival Date - Yayın Kabul Tarihi / Article Acceptance Date 22.01.2019 05.03.2019 Yayınlanma Tarihi / The Published Date 25.03.2019 ÇOK SESLİ TÜRK MÜZİĞİ BESTECİLERİNİN ESERLERİNDE MAKAM OLGUSU: DÖRT TÜRK BESTECİSİNDEN DÖRT ÖRNEK ÜZERİNE BİR ÇALIŞMA MAKAM IN THE WORKS OF TURKISH POLYPHONIC MUSIC COMPOSERS: A STUDY OF FOUR EXAMPLES FROM FOUR COMPOSERS Dr. Öğr. Üyesi Mustafa Eren Arın ORCID ID: https://orcid.org/0000-0001-8762-2002 Ondokuz Mayıs Üniversitesi, Devlet Konservatuvarı, [email protected] Öz Türk Çoksesli Müziği bugünden geriye bakıldığında en azından 150 senelik bir geçmişe sahiptir. 19. Yüzyılın ortalarına doğru gelindiğinde Mehterhane büyük oranda Batı Bandosu tarafından yerinden edilmişti ki bu, batılılaşma hareketi olarak adlandırı- lan eğilimin bir parçası olarak 1839 yılında ilan edilen Tanzimat fermanı ile açığa çıkmış ve Osmanlı İmparatorluğu'nun sosyal ve politik hayatında yaşanan birçok radikal deği- şiklikle hayata geçmişti. Osmanlı İmparatorluğu'nun son on yıllarında devam edip ni- hayetinde 1923'te Cumhuriyetin kurulmasına zemin teşkil eden sosyal ve politik alanda yaşanan değişim süreci boyunca, çok sesli müzik ve onun türleri hızlı bir biçimde sanat- sal ifadenin taşıyıcılarına dönüşerek Feodal toplumdan Burjuva toplumuna geçişin ve eskinin değerlerinin yeninin değerleriyle yer değiştirdiğinin göstergesi oldular. O za- mandan beri Türkiyede Çoksesli Müzik besteciliğinin temel amacı Kültürel ögeleri içeri- sinde barındıran yeni Modern müzik formları yaratmak olmuştur. Bu çalışmamda, çeşit- li dönemlerden seçtiğim Türk Modern ve Çağdaş Bestecilerinin eserlerini teknik yönden incelemeye çalışacağım. Bunu yaparken Türk bestecileri tarafından sıklıkla kullanılan bazı metodları genellemeye çalışacağım. Analizlerimde bu metodlar üzerinden gitmek- teki amaç, Türk bestecilerin eserlerindeki Makam izlerinin görünür hale gelmesi ve bu izlerin Makam geleneği ile ilintisini kompozisyonal temsiliyet bağlamında sorgulaya- bilmektir. Anahtar Kelimeler: Makam Müziği, Batılılaşma, Türk Çoksesli Müziği, Ulusal 272 Mustafa Eren Arın Kimlik, Kültürel Temsiliyet Abstract: Turkish Poliphonic Music has a history of at least 150 years from now. Jannisery Mehter was nearly 100 percent replaced by the Western Band by mid 19'th Century a tendency called westernization process which was higlighted by the declera- tion of Tanzimat(regulations) in 1839 accomponied by some radical changes in so- cial/political life in Ottoman Empire. Through the period of social/political changes that continued for last decades of Ottoman Empire which eventually lead to the establish- ment of Turkish Republic in 1923, the Poliphonic Music and its genres were quickly be- acame the signs of artistic expression marking the change from Feodal Community to Burgoise Society replacing the old values with the new ones. Till than the artistic task of Polyphonic music composing here in Turkey mainly have been to create new forms of Modern music displaying cultural idioms. In this document, I will try to examine tech- nically the scores of some Modern and Contemporary Turkish Composers which ı’ll chose from various periods of Turkısh Polyphonic Music. By doing this I will try to ge- neralize some common methods frequently used by the Turkısh composers to display Makam features in their music and question their relevance to makam tradition as me- ans of compositional representation. Key Words: Makam Music, Westernization, Turkish Polyphonic Music, Natio- nal Identity, Cultural Representation INTRODUCTION tion giving way to florid melodic lines with Turkish Poliphonic Music has a his- extensive ornaments. One of the solutions tory of at least 150 years from now. Jannisery was methodically simplification of the maka- Mehter was nearly 100 percent replaced by mic idioms to a limit that they would no more the Western Band by mid 19'th Century a create obstacles when used in Polyphonic tendency called westernization process which writing which was very common from the was higlighted by the decleration of Tanzi- first decades of Republic till the end of 70's. mat(regulations) in 1839 accomponied by In this document, I will try to examine some radical changes in social/political life in technically the scores of some Turkish Com- Ottoman Empire. Through the period of so- posers which ı’ll chose from various periods cial/political changes that continued for last of Turkısh Polyphonic Music and question decades of Ottoman Empire which eventually their relevance to Makam tradition. By doing lead to the establishment of Turkish Republic this I will try to categorize and methodize the in 1923, the Poliphonic Music and its genres common two compositional tendencies which were quickly beacame the signs of artistic belong to the two different historical phases of expression marking the change from Feodal Turkısh Polyphonic Music. The first one is the Community to Burgoise Society replacing the "adjustment of the tradition for the sake of old values with the new ones. National Identity". That was the musical tra- On the other hand some major prob- demark of the first decades of Turkısh Repub- lems arosed when trying to create a new nati- lic. And the second one is "the actual repre- onal musical expression based on the rules of sentation in multistylistic textures" a composi- new Poliphony at the same time using some tional tendency arosed after the late sixties. features of old Makam heritage.(rural or ur- Historical Background ban forms). Makam structures were far too By the end of 19'th century, the Tonal flexible by pitch organisation which were hieararchy which functioned as a common incompatible with polyphonic textures and ground for European Art Music for nearly 500 were too complicated by ryhthmic organisa- hundred years, started to loose its traditional Türk Çok Sesli Müzik Bestecilerinin Eserlerinde Makam Olgusu: Dört Türk Bestecisinden Dört Örnek Üzerine...273 function by intensive usage of chromatic alte- radical shift on musical taste seemed to be rations and metric dispositions which eventu- coming from the supreme authority of that ally lead to abondance of tension-resolution time which was the Ottoman Palace, there dialectic in the pitch organisation of a musical was also an outgoing process of change in all work. The Abundance of Tonality or Atona- layers of society. lism in the first decades of 20th Century not Although most of the critics of the only emancipated pitches from their grand Turkısh modernization ascribe modernity to a boundairies it also served to national music European or Western Project, similar sociolo- composition schools and styles all around the gical developments have been observed in Europe for their emancipation from the center Ottoman Emipire and republican Turkey, and its style vowen with tonal idioms. This even if the historical dynamics were quite new situation helped national schools in their different. Indeed Ottoman society experienced search for new arrays of cultural representa- a modernization process from early eighte- tion in their musics a tendency which already enth century onward.(Ergur-Doğrusöz, 2015: started from 1850's. 146) The Development of the national sty- Traditional Makam Music of Turkey les outside of Central Europe and the general was by no means isolated from what was international evolution of twentieth-century going on social life. music are closely related. The discovery of In their article Resistance and Adop- folk music, particularly that of Eastern Euro- tion towards Written Music at the Crossroads pe, was one of the factors that broadened the of Modernity: Gradual Passage to Notation in horizons of Western music. At the same time, Turkish Makam Music Ali Ergur and Nilgün no extensive independent developments of Doğrusöz states that there was a similarity great significance could take place until the between the rationalization process of Euro- dominance of the central, "common practice" pean Tonal Music and Ottoman Makam Mu- tonal system was ended" (Salzman, 1988: 70) sic. In his monumental book called Twen- Although the historical path of the tieth Century Music" Eric Salzman states that modernization in Turkish Makam music did after the end of tonality new models pitch not follow the same socio-economic steps, a organisations was needed to appear inorder similar rationalization process took place from to give way to new expression forms. "In ge- the 18th century on.Besides the hidden tem- neral, some new kind of tonal framework was perament of the sound system, other signs of needed within which distincktly national a significant change have been observed since idioms-derieved from the small forms of folk that time. (Ergur-Doğrusöz, 2015: 147) and dance music-could be expanded into Ergur and Doğrusöz claim that the larger means of creative communicati- preference to simpler makams, preference to ons"(Salzman, 1988: 70) simpler rhythmic patterns (usuls), more virtu- Meanwhile the music scene of late Ot- sic passages in melodic lines accompanied by toman period in mid 19’th century was under agility in musical performance, increase in the aseries of rapid changes paralel to the ones usage of basic formal structures and most occured in social/political life. One majör importantly ongoing attempts for notating the change happened