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
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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
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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 by replacing the old Mehter Makam music heritage were all signs of Mo- music(Jannisary band) with Mızıka-i Hüma- dernization process in culture which was so yun which was consisted of mainly western predominant in Turkey starting from as early instruments. Although the decisions about the as 18th century. (Ergur-Doğrusöz, 2015: 147)
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Meanwhile, Composers from Turkey tury. also started to compose in the forms of Wes- Approximately 80 percent of makam tern Music tradition. One remarkable examap- music is built on text swhich is sang with me- le was occured in Military Music. Excessive lodies compassing maximum two octaves amounts of military marches using Western depending on the makams. These melodies poliphony, rhythhm, phrase structures
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these systems was Rauf Yekta's makam scale built on 24 unequal static pitches in an octave.
Table 1: Rauf Yekta's makam scale built on 24 unequal static pitches in an octave. (25 pitches with the octave)
(Yekta, 1986: 59)
In table:1 we see an ascending row of on the same pitch organisation that previo- pitches starting from D4 to D5 with their ra- usly developed by Rauf Yekta but starting tios given above marking the distance from tonic C4 to C5 this time. With in time between each pitch and the ratios below mar- Arel-Ezgi-Uzdilek system become more popu- king the distance to the tonic D4. lar and it has been taught in all Major Makam The accurate ratios are given with the Conservatories and Makam Music Isntitutions word "doğru" and the approximation of accu- since than. rate ratios are given with the word "takribi". Tetrachords-Pentachords Dating back to 1913 this one is one of the first Makams are derived from the con- examples of fixed pitch systems using 24 junction of caharacteristic tetrachords and unequal pitches in one octave. (After the re- pentachords which are called çeşni. Here are public Saadettin Arel, Suphi Ezgi and Murat some examples of Çeşni's in tetrachords that Uzdilek developed an other system using 24 have been frequently used in Makam Music. unequal pitches in an octave which was build
Table 2: Mahur Çeşni2
(Özkan, 1982: 41) Table 3: Buselik Çeşni
(Özkan, 1982: 41)
Table 4: Kurdi Çeşni
2 Like many adocates of Erel-Ezgi-Uzdilek System througout his book Ismail Hakkı Özkan identifies this çeşni as Çargah. But since Çargah refers to another makam featuring Saba, I will prefer the old name Mahur for this çeşni.
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(Özkan, 1982: 41)
Table 5: Rast Çeşni
(Özkan, 1982: 41)
Table 6 : Uşşak Çeşni
(Özkan, 1982: 42)
Table 7: Hicaz Çeşni
(Özkan, 1982: 42)
As seen in the examples there are so- ditionally taught me letters put under the notes. This letters Irregular metric patterns are one of refer for some identical interval ratios taught the most prominent aspects of Makam Music. in Arel-Ezgi-Uzdilek system. Thus letter T Both Urban and Rural Branches make use of stands for Tanini which is 9 commas(203 cents irregular metric patterns of 5-7-9-11-13 etc..4 approximately).3 Letter B is 4 commas(90 The conventional classification of cents approximately), letter K 8 commas(181 Usuls are threefold. Usuls between 2-15 beats cents) and letter S stands for 5 commas(113 are accepted as small Usuls, such as Nim cents approx.) Sofyan(2 beats), Semai(3beats), Sofyan(4 be- Rhythmic Structure ats), Türk Aksağı(5 beats), Yürük Semai(6 Metric patterns are named as Usul in
Makam music. Usuls form the background 4 Apart from irregular metric patterns like 5/8 or 7/8 rhythmic layer of Makam works and are tra- featuring odd numbers , there are also patterns featuring even numbers like 8/4 but use irregular groupings as 3 Arel-Ezgi -Uzdilek System uses 24 unequal ratios from 3+2+3 as in the example of Müsemmen usul. In that sense a super set of 53 equal ratios. Thus one octave has 53 Makam music radically shifts from Western usage in small intervals. When we divide one octave 1200 cent to metric organisation. One prominent of the most 53 we get the smallest ratio (22,64 cents) which is called distinguishing example is 9/8. Metric patterns involving 9 comma in AEU system. This should not to be confused are considered as compound forms of 3 in Western with Pythogerian(23,5 cents) or Syntonic (21,5 cents) convention whereas in Makam Music they are always commas used in Western music theory. groupings of 2-2-2-3 or 2-3-2-2 or 2-2-3-2 etc..
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beats), Devri Hindi(7 beats)
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Mustafa Eren Arın ous texts or love poems. dies, Accented Syllabic Melodies, Melismatic Formal structures Melodies, Hybrid (Mixture of Syllabic- Both Urban and Rural branches of Melismatic), Melodies with Aruz Rhythm, Makam Music divided in two major formal Loose Rhyttmic Melodies. (Özgül-Turan- categories as Instrumental forms, Vocal forms. Dökmentaş 1996: 23-27). In his Article called In Urban branch of Makam Music Vo- “The definition of Uzun Hava in Turkish Folk cal Forms further divided in two categories by Music and the problems arising regarding this its subjects as Religious Forms and Non Reli- definition” Süleyman Şenel divides Rural gious Forms. Makam Music first in three as: Instrumental, In his monumentl book called Tur- Vocal, Vocal-Instrumental Music. He further kish Music Theory and Usuls İsmail Hakkı makes a classification of more technical kind Özkan lists instrumental forms in Urban such as Melodies with metric structures, Me- branch as : Taksim (improvisatory form) lodies with free metrical ,Peşrev, Medhal, Saz Semai, Longa, Sirto, structures and melodies involving Oyun Havası, Aranağme, Koda. He lists Reli- both metrical and free metrical structures. gious vocal forms as: Ayin, Nat, Durak, Mira- (Şenel, 1992 edited by Turhan: 65) ciye, İlahi, Sugül, Ezan, Mahfel Sürmesi, Salat- To sum up, there are apparent theore- Selam, Münacaat, Mevlid. And Non religious tical and practical similarities as well as diffe- vocal forms as: Kar, Kar-ı natık, Karçe, Beste, rencies between Urban and Rural Makam Ağır Semai, Yürük Semai, Gazel, Sarkı, Türkü Musics of Anatolia. Historically, starting from and Köçekçeler. (Özkan, 1982, pp: 79-80) the Ottoman times the Urban branch was Similarly we can broadly classify the subject of a more indirect elaborate or abstract formal structures used in Rural Branch as: in other words way of expression regarding Instrumental Froms: Açış (improvisa- the aristocratic city (namely İstanbul) culture tory form) and dance musics of all types pla- it feed from. On the other hand Rural branch yed with only instruments. was a more direct way musical expression of Vocal Forms: people belonging to lower class of Ottoman In his book called Turkish Folk Music Empire. The vast majority of them were pea- Zeki Büyükyıldız classifies Turkish Folk Mu- sents living a simpler life compared to the sic in two Major Categories, “Anonymous people of Aristocracy living in the cities. Folk Music without known composer and Adjustment of the tradition for the Composed Folk Music” (Büyükyıldız, 2009: sake of National Identity. 138)6. Another method is to classify Rural Through the process of establishment Makam Music according to metric structu- of Republic in 1920’s, music was chosen as a res.In that sense the repertory featuring amet- tool for conveying the Ideological content of rical/imrovisatory formal structure (uzun the new Republic. hava) in one category and the musics with Music occupies a privileged place in clear metrical structures (kırık hava) are anot- Turkish modernization, among other arts, her category.This kind of classification based because it has both popular and abstract (int- on rhythmic parameter is further divided in rinsic complexity) characters. The double- subcategories as Unaccented Syllabic Melo- sidedness of musical expression explains its ideological over-charges that made it a vast conceptual terrain of social and political but 6 In view of the fact that the big percent of Rural Branch certainly non- musical debate. In such a con- Makam Music is anonymous, the formal classifications done in this genre often take into account it’s anonymous text, the musical preferences of any audience property were mostly associated with the schematized
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ideological meanings, which triggered out the Ün, İlerici were accepted as the first genera- polarization between conservatism and mo- tion of composers of Modern Turkey.(Aydın, dernism. ( Ergur-Aydın, 2004: 3 ) 2003: 23) New republic needed new forms of Although their compositional styles expression. The Political elite of that time vary from each other; what is common among aimed for a kind of Polyphonic Music that these composers is uncompromising attitude displays National Identitiy. The rural branch for adaptation of Makam's to 12 tone equal of Makam music was chosen officially to str- tempered system of Western world inorder to cuture a new polyphonic style up on it and make them suitable and even reasonable to be Urban style of Makam music was raher dis- used in Polphonic textures. In that sense cha- missed on this process.7 The reasons for this racteristic complex textural and timbral quali- decision was twofold. The technical reason ties of urban or rural makam musics had was that the urban branch of Makam Music been disregarded, harmonic grammer consis- was highly complex with its long metrical ted of micro intervals were simplified to be patterns, eloborated melodies and melismatik performed within the limit of 12 Equal tempe- verbal structure that together makes it unsui- red system. In other words just an adoptab- table for harmonizing. On the other hand the le/suitable reflection of the original makam rural branch of Makam music was more or idiom was needed inorder to be used in Ma- less structured on short metrical patterns, kam driven polyphonic musics of National simpler melodies with syllabic verbal charac- school. ter displaying plain Turkish as it was spoken among ordinary Turks in Anatolia. The Ideo- logical reason for building the polyphonic structure on rural style not the urban style was that, the urban stle of Makam music was representing the Ottoman culture with its capital Istanbul having an cosmopolit identity consisting of the mixture of Byzantium, Ara- bian, Persian, Armenian, Greek and Turkish cultures. On the other hand rural style was representing more or less a homogenity based on Anatolian Turkish culture which was con- cordant with the needs of New Republic. Thus to create a new repertory on the basis of National Polyphonic music, compo- sers had been sent to Europe to have the edu- cation needed for that task. Rey,Alnar, Say- gun, Erkin, Akses, Atrek, Koral, Abed, Bilgen,
7 The debate between traditionalists and modernists eventually led Makam music to be banned from the conservatory.(1926) Which was quite shocking for traditional musicians since till that time both musics had being thought simultaneously at the same institution (Darül-Elhan)
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Example no:1 Adnan Saygun Horon from Demet Suite (1956)For Piano and Violin.(measures 1-17)
Demet Suite for Piano and Violin is a folk tunes or hymns.(Aracı, 2001: 184) series of short pieces resembling Anatolian We may also see examples of this folk dances of varying regions ranging from three models stated by Aracı in examples 1-2 West Anatolian Zeybek to North Anatolian from Horon. The melody on Violin that starts Horon. Horon is the second piece of the Suite. at measure five is an original melody compo- It is based on 7/8 fast rhythmic idea on piano sed by the composer himself to mimic the which creates a layer of ostinato till the end of character of the kemençe. The melody is imp- piece which mimics an actual Horon dance lied to be in karcığar makam that consists of which the rhythmic layer is traditionally crea- the series of pitches A-B-C-D-Eb-F#-G-A. ted by kemençe.(A string instrument consis- However in reality the second degree ted of three strings). (B) of Karcığar is approximately 40 cent lower In his book called Adnan Saygun A and the fifth degree(Eb) is approximately 14 musical bridge between West-East Emre Ara- cents higher than equal tempered ones used cı, analysing the famous Yunus Emre orotorio in the example. Furthermore we see this scale by AdnanSaygun states that Saygun has three is harmonically delivered between Violin and models of melodic structures in Yunus Emre Piano adding the note Bb inorder to fill the orotorio: sonic atmosphere with a kind of tension Adaptated or simplified Folk tu- between B and Bb best probably compansate nes/hymns by ways of alteration to the absence of a lowered second degree of Original melodies composed by the original Makam. composer himself.in style of Folk tunes by Given the three methods by Aracı we preseving the charactersitics of Folk tunes. can state that; example no:1is an originally Melodies that does not resemble any composed melody mimicing the tradition, in
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that way it suits to the second method. in previous generations of Turkish Polypho- Actual Representation in Multisty- nic Music. Thus, a traditional makam instru- listic Textures ment is often used in texture as it sounds in its The idea of global village supported own sonic atmosphere(preserving the charac- by neo liberal policies of 80's strated to melt teristic of pitches/microtones and performan- down the barriers between musical genres ce codes) without trying to adjust it to the that were categorized and seperated by ge- necessities of Western taste. orgraphical and cultural conditions for long In their article called "The use of The Starting from the 60's The quesitoning of pu- Classical Kemençe by Contemporary Compo- rity in Art eventually and most probably lead sers" to the juxtaposedposed sonic worlds of Post Eray Altınbüken and Aslıhan Adlin Modernism which still dominates the con- states three attitudes of using kemençe (Strin- temporary music scene. ged Makam Music instrument of Urban style) Post-modernism, like the comparable in Contemporary Compositions period between the world wars, is characteri- 1-Kemençe playing makam based ma- zed by a major revival of interest in ethnic terial and folk-styles. The new regionalism of the 2- Kemençe plays the unrelated mate- 1980's, like the national movements earlier in rial to makam the century, involves more than parochialism; 3-Mixed attitude it is natural result of composers cultivating (Altınbüken-Adlin 2017: 75-81) their own backyards rather than creating for Altınbüken and Adlin's categorization an international avant-garde that is widely of attitudes displaying the usage of makam and thinly spread across the global network. deriven elements in Contemporary Works (Salzman, 1988: 230-31) resemble to the Aracı's models based on the The eclectism and multistylism asso- analyses of Yunus Emre Orotorio by Adnan ciated with Post-modern textures of last 40 Saygun even though they belong to quite years has their counterparts in Turkey's new different time zones in music history music scene. Starting frof om the mid 80's For the sake of clarity ı’ll propose only composers of Turkey started to get involved two methods for analysing the contemporary with Post Modern Aesthetics this led to new textures that use instruments which belong to kinds of horizons in their understanding for Makam Tradition: handling Makam music sources in their Makam ınstruments performing pas- works. sages which are borrowed from Makam re- These composers, who represent the pertory fourth generation of Turkish polyphonic mu- Makam ınstruments performing pas- sic compose in variety styles ranging from neo sages which are composed by the composer. expressionism to neo classicism, post minima- Example no:5 is from Hasan Uçarsu lism,spectralism, post spectralism or even (1964) one of the well known representatives post-avant garde music have one common of Turkish contemporary Polyphonic music. concept when handling Makam elements in Stylistically Hasan Uçarsu is one of the repre- their compositions. Makam elements almost sentatives of Contemporary Academic Music always used as representative sound sources originating from European Darmstad tradi- rather than abstract implications adapted to tion with his neo expressive, restless and den- the texture by a series of transformative ope- seful texures. rations which were the methods determinant In his work called On the Back Streets
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Of Old Istanbul, he used Kanun (an instru- used figures and motives both from Nihavend ment which belongs to makam music) with Ud taksim by Yorga Bacanos (One of the le- Clarinet, Harp, Percussion, and Cello creating gends of ud performance in Makam music) a heterogeneous sonic atmosphere. He not and Hüzzam Mevlevi Ayin of Hammamizade only composed original passages for Kanun İsmail Dede Efendi. (Undoubtedly the most but he also cited pasages from prominent famous composer of whole Makam Music examples of Traditional Makam Music. tradition) In his Foreword Uçarsu states that, he
Example no:2 Uçarsu, Hasan (2001) On the Back Streets of Old Istanbul (measure 116)
In example no:5, kanun starts to play Efendi. (Marked in the score). This melody is a melody from Birinci Selam of Hüzzam Mev- doubled by the left hand of an other plucked levi Ayin by Hammamizade İsmail Dede instrument which is Harp. Both the makam
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melody on Kanun+Left Hand HArp and the D role of the soloist, contrarily takes equal part pedal on background which is played by in the ensemble as the others. Generally the Cello are shadowed by the counter melodies other instruments might be quite busy in on the middleground by Bowed transforming the musical particles that kanun Vibrophne, Clarinet, Right Hand had already presented, in this case they might Harp. This kind of representation in a layered be perceived as more active than kanun. context was surely one of the intentions of (Uçarsu, 2001: 4) composer's as he states in the programme Since in this music Kanun as a Ma- notes. kam instrument both plays passages which The most distinguished feature of this belong to Makam tradition and also passages work is the use of kanun (qanun)-an instru- which are originally composed by the compo- ment which belongs to Ottoman Court Music ser, the music both belongs to the first and Tradition- in a context of western chamber second methods respectively. music. The fundamental concept in this app- Kamran Ince is one of the leading fi- roach is the presentation of music and figures gures of Turkish Contemporary Music scene. by kanun from its own traditional music, its His music stands alone among many, by ma- own culture. The other instruments in the inly consisting of juxtaposition of post- ensemble take over these jests and figures and minimalist and neo-tonal elements with a gradually transform them by altering, spoi- touch of Makam extract. ling and messing up. While the other instru- The Invasion is the sixth movement of ments transform these musical particles –as if his symphony titled Gallipoli Symphony moving to another dimension- the struggle of composed for Orchestra with Turkish Makam kanun to keep insistently the original forms of Instruments namely Bağlama-Zurna(2)-Ney its own figures constitutes the inner dyna- and Kemençe. mism of the work. Kanun doesn’t have the
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Example no:3 Ince, Kamran (2011) Invasion for Orchestra and Turkısh Instruments (measures 66-67)
At bar 67 two Zurnas are involved in should vary, they are taught this and once the texture which is already densely stratified learned they do not follow part they are cued with melodic layers involving almost all inst- in and cued out” (Ince, 2011: 26) ruments whith repeating rhythmic figures of By using this kind of flexible notation thier own. Since traditional Zurna players are the composer succeeds to get what he needs not familier playing these kind of rhythmic as a sound. And since he composed all the patterns, the composer asks for a kind of ap- Makam material played by Makam instru- roximation with this comment on measure 66. ments himself, this example obviously be- "Zurnas to play something similar to this longs to the second method. rhythms and meter dont have to match and
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Example no:4 Türkmen, Onur (2012) Hat for Kemençe and Ensemble (Measure 217)
Example no:8 is from one of the pro- not dictate the existence of another consequ- minent composers of last generation Contem- ent moment. porary Turkish Music. Onur Türkmen is Although there are reminiscences, a known by his highly orginal approach of hat does not incline towards a reference to a icorporating Makam derivated idioms with certain culture. Rather it is just another occur- textures build on singularity of elements high- rence within a universe with no other diver- lighted with dense usages of micropolyphony sity than itself: a simultaneous unity of time and one note polyphony (techniques which and space that ceaselessly continues and are pioneered by Gyorgy Ligeti and Giacinto expands. Scelsi respectively starting from the second Speaking of a universe of no diversi- half of Twentieth Century) ties, in terms of musical perspective, hat is Türkmen composed a series of pieces emancipation of consonance (Türkmen, 2012: featuring makam instruments under the hea- 3) ding of "Hat". After a kind of dynamik decrescendo He defines his attitude of composing which leads to textural resolution marked by by thse words: rests on several parts starting from measure Hat (term derived from calligraphy) is 211, solo kemençe is featured to make an imp- a compositional approach thatis not construc- rovisation on bar 217. It is written improvisa- ted through a dialectic on the oppositions, tion but in reality the composer asks kemençe contradictions and polarizations of the musi- player to make a Taksim( improvisation tradi- cal material(s) but rather on a dialectic tion in makam music done by instruments ) between composers psyche and hat. Hat - a on Saba makam that is accompanied by tre- “line” of maqams penetrating and merging molo on the string of Piano creating a drone into one another – is gradually sought, com- background which is one of the textural es- municated with and eventually revealed by sentials of taksim performance. Since the tak- the composer. Being inextricable from its sing- sim is just before the end of the piece we can le unity, this line is only a phenomenon rest- assume that it has a structural role in conve- ricted by composer’s seeking, communication ying the makam domain to Contemporary and revelation. Therefore its beginnings and music. And since the material played in the endings are ambiguous; it is not a structure; taksim is not composed by the composer it any instance that occurs within the hat does belongs to the first method.
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Conclusion Ince and Onur Türkmen. I used two methods The process of Modernization in Mu- of analysing one is: "Makam instruments per- sic in Turkey had started as early as late Ot- forming passages which are borrowed from toman times. It was the projection of what Makam repertory"; and the second one is : was happening socially and culturally high- "Makam instruments playing passages which lighted by the events which lead to the trans- are composed by the composer".Analyses formation of an transcultural empire to a revealed that all three examples are built on nation state republic. The process gave way to pre composed material by the composers in adoptation of Western polyphony to Makam that way they mainly belong to second met- music with a bunch of cultural conflicts, nego- hod; with two exceptions that occurs in Hasan tiations, and comprimises that underline the Uçarsu’s and Onur Türkmen’s scores where aesthetic core of at least half a century of there are borrowed material from traditional Polyphonic Turkish Music. Starting from the repertory making these exceptions belonging 60''s the Modern Music practice became more to method one. segmented world wide as well as in Turkey. To sum up, looking from 2018 to back Thus the Multistylistic textures featuring rep- 1850’s it has been quite a long way to search resentation of Makam idioms can be read as a or experiment with the expression methods kind of projection of Post Modern Aesthetics which polyphonic writing propose to the mu- surrounded the world starting from sixties up sicians from Anatolian geography. As J.H to now. Kwabena Nketia stated firmly with these lines After concisely framing the historical “in searching for new directions in the music background and making short overwiev on of Third World, it would be equally important makam music; I've tried analyse two major for each culture to keep the areas of focus that aesthetic tendencies regarding the usage of give its music identity clearly in the wiev”. Makam elements in Polyphonic textures. The (Kwabena, 1982: 95) first tendency which ı call is "Adjustment of The search newer finishes, nor the Tradition for the sake of National Identity", music... that consisted of works with adapted material of makam music to polyphonic writing. I REFERENCES analysed one example from Ahmet Adnan Alimdar, S. (2011). XIX. Yüzyıldan İtibaren Saygun. I based my analyses on three compo- Osmanlı Devletinde Batı Müziğinin sitional methods that I cited from Emre Aracı Benimsenmesi ve Toplumsal Sonuçla- for revealing the Makam elements in these rı *The Adoptation of the Western works meanwhile questioning their relevance Music up to 19th century and Its So- to actual Makam tradition. .(Aracı, 2001, cial Consequences in Ottoman State] pp:184) Istanbul Technical University, Institu- I found that Saygun example displa- te of Social Sciences, unpublished yed Makam structures originally composed PhD dissertation. by the composer which is the second method. Altınbüken, E. and Adlin, A. (2017) The Use In Saygun's example there was no occurance Of The Classical Kemençe By Con- of first method which is the actual borrowing temporary Composers, Porte Akade- of Makam melodies. mik, 16(4), pp.71-82 The second aesthetic tendency which ı Aracı, E. (2001). Ahmed Adnan Saygun Doğu- call is "Actual representation in Multistylistic Batı Arası Müzik Köprüsü Yapı Kredi Textures". I chosed three examples from three Yayınları, İstanbul composers namely Hasan Uçarsu, Kamran Aydın, Y. (2003). Türk Beşleri Müzik Ansiklo-
Türk Çok Sesli Müzik Bestecilerinin Eserlerinde Makam Olgusu: Dört Türk Bestecisinden Dört Örnek Üzerine...287
pedisi Yayınları, Ankara entiarum Hungaricae pp. 81-97 retrie- Behar, C. (2016). Aşk Olmayınca Meşk Olmaz ved from JSTOR Yapı Kredi Yayınları, İstanbul Özgül, M.; Turan, S. ve Dökmentaş, K. (1996). Büyükyıldız, Z.(2009). Türkish Folk Music Notalarıyla Uzun Havalarımız Cem Of- Papatya Yayıncılık Eğitim, Istanbul set, Ankara Emnalar, A. (1998). Türk Halk Müziği Ve Özkan, İ. H. (1982). Türk Musikisi Nazariyatı Nazriyatı Ege Üniversitesi Basımevi, ve Usulleri & Kudüm Velveleleri İstanbul Ötüken Yayınları, İstanbul Ergur, A. and Doğrusöz, N. (2015). Resistance Salzman, E. (1988). Twentieth Century Music and Adoptation towards Written Mu- An Introduction(third edition) Prenti- sic At The Crossroads Of Modernity: ce Hall, Englewood Cliffs, New Jersey Gradual Passage To Notation In Tur- Saygun, A. (1955). Demet For Violin And Pia- kısh Makam Music, International Re- no Score Devlet Konservatuvarı Ya- view of the Aesthetics and Sociology yınları. No: 14 of Music, 46(1), pp.145-174 retrieved Şenel, S. (1992). Türk Halk Musikisinde from JSTOR “Uzun Hava” Tanımları ve Bu Tanım- Ergur, A. and Aydın Y. (2006). Patterns of lar Etrafında Ortaya Çıkan Problem- Modernization in Turkish Music as ler”(pp:55-90) Türk Halk Müziğinde Indicators of Changing Society, Musi- Çeşitli Görüşler (edited by Salih Tur- cae Scientiae, Special Issue 2005-2006, han) Çukurova Matbaacılık, Ankara pp.89-108. Türkmen, O. (2012). Hat For Kemençe and İlyasoğlu, E. (1998). Contemporary Turkish Ensemble Score Composers, Pan Yayıncılık, İstanbul Uçarsu, H. (2001). On The Back Streets Of Old İnce, K. (2011). Invasion for Orchestra with Istanbul Score Turkısh Instruments Score Yekta, R. (1986). Türk Musikisi (translated by Kwabena, N. (1982). Developing Contempo- Orhan Nasuhioğlu) Pan Yayıncılık, Is- rary Idioms out of Traditional Music, tanbul Studia Musicologica Academiae Sci-
Citation Information/Kaynakça Bilgisi Arın, Mustafa Eren (2019). Türk Çok Sesli Müzik Bestecilerinin Eserlerinde Makam Olgusu: Dört Türk Bestecisinden Dört Örnek Üzerine Bir Çalışma, Jass Studies-The Journal of Aca- demic Social Science Studies, Doi number:http://dx.doi.org/10.9761/JASSS7988, Number: 74 Spring 2019, p. 271-287.
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