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1923 – 1938 Yillari Arasinda Atatürk'ün Sanat Polġtġkasi Ġçġnde Müzġğġn Yerġ

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1923 – 1938 Yillari Arasinda Atatürk'ün Sanat Polġtġkasi Ġçġnde Müzġğġn Yerġ T.C Ġstanbul Üniversitesi Sosyal Bilimler Enstitüsü Müzikoloji Anabilim Dalı Yüksek Lisans Tezi 1923 – 1938 YILLARI ARASINDA ATATÜRK‘ÜN SANAT POLĠTĠKASI ĠÇĠNDE MÜZĠĞĠN YERĠ F. Kaan Karahan 2501070498 Tez DanıĢmanı Mete Sakpınar Ġstanbul 2010 ÖZ Ġnsanoğlunun yeryüzündeki varlığıyla yaĢıt olan müzik, insanın değiĢmeyen kiĢiliği ve karakteri gibi, ülkelerin veya toplumların farklı kültürlerini yansıtan sanatın önemli bir dalı olmasının yanısıra, geçmiĢten günümüze insanın, savunma, sağlık, inanç, eğlenme gibi gereksinimlerinde en önemli rolü üstlenen unsur olarak kabul edilebilir. Müziğin evrensel bir dil olarak insanları birleĢtiren iĢleve sahip olması da, müziğin insanoğlunun varlık sürecindeki etki ve iĢlevlerine dayandırılabilir. Müzik sanatının anlattıkları arasında, ülkelerin ve toplumların kültürel yaĢamlarının önemli yer aldığı gerçeği dikkate alınarak hazırlanan bu tez çalıĢmasının konusu, Türkiye Cumhuriyeti‘nin kurucusu büyük önder Atatürk‘ün, müziğe verdiği önem ve bu yaklaĢımının çağdaĢ Türk müziğin oluĢmasındaki etkileri doğrultusunda belirlenmiĢtir. 1923-1938 Yılları Arasında Atatürk‟ün Sanat Politikası İçinde Müziğin yeri adlı bu tez çalıĢmasının yöntemleri; çeĢitli ulusların müzik yaĢamlarının genel hatlarıyla değerlendirilmesinden, sanat ve eğitim alanında gerçekleĢen kültürler arası etkileĢimlerin dikkate alınmasından ve Atatürk‘ün sanat politikasının oluĢmasındaki etkenlerin değerlendirilmesinden oluĢmuĢtur. iii ABSTRACT Music which is at the same age as the existence of human beings on earth is an important branch of art reflecting the different cultures of countries or societies like human‘s unchanging personality and character. In addition to this, it can be accepted as the element playing the most important role from past to present in the requirements of humans like defense, health, faith, entertainment. The fact that music has the function of uniting people as a universal language can be based on the effects and functions of music on the existence process of human beings. The subject of this thesis study which was prepared by paying regard to the reality that is cultural lives of countries and societies significantly take place among what art of music tells was determined in the direction of the importance which the founder of the Republic of Turkey, great leader Atatürk gave to music and the effects of this approach on arising of contemporary Turkish music. The methods of this thesis study named The location of the Music in art politics of Atatürk between the years 1923-1938 comprise of the evaluation of various nations‘ music lives in general terms, taking notice of cross-cultural interactions taking place in art and education fields and the factors on the formation of the art politics of Atatürk. iv ÖNSÖZ Türkiye Cumhuriyeti‘nin kurucusu Mustafa Kemal Atatürk, milli mücadeleyi sadece harp meydanlarında vermemiĢ, bilginin güç olduğu varsayımından yola çıkarak sanat ve eğitimin her dalında bu mücadelesini halkın desteğiyle ve ondan güç alarak ömrünün yettiği kadar sürdürmüĢtür. Bu çalıĢmada Osmanlı Ġmparatorluğu‘ndaki müzik yaĢamına, dönemin eğitim kurumlarının iĢlevi ve müzik hayatına katkılarına kısaca değinilmiĢ, Cumhuriyet‘in ilanından Atatürk‘ün 1938 tarihinde ölümüne kadar olan zaman dilimi sürecinde uygulamaya çalıĢtığı sanat politikaları, çağdaĢ ulusal müziğimizin geliĢim süreci ve Türk bestecileri, yabancı uyruklu müzik adamlarının ulusal müziğimizin oluĢmasındaki katkıları ve görüĢleri, Atatürk‘ün bilimadamı, akademisyen kiĢiliği ve araĢtırmacı yönü, askeri dehası ve felsefeye olan yakınlığı, çoğu kez farklı olaylar karĢısında dile getirdiği söylemler ile desteklenerek incelenmiĢtir. ÇalıĢmalarım sırasında bana yardımlarını esirgemeyen değerli hocalarım Doç.Dr.Ümit Tunak, Mete Sakpınar ve arkadaĢım Müge Eraydın‘a teĢekkür ederim. v ĠÇĠNDEKĠLER ÖZ ................................................................................................................................................... iii ABSTRACT ....................................................................................................................................... iv ÖNSÖZ ............................................................................................................................................. v İÇİNDEKİLER ................................................................................................................................... vi KISALTMALAR ................................................................................................................................. ix GİRİŞ ............................................................................................................................................... 1 I. BÖLÜM ........................................................................................................................................ 2 1. 1923-1938 DÖNEMİ KÜLTÜR POLİTİKALARINA GENEL BAKIŞ .................................................... 2 1.1 CUMHURİYET’İN İLANINDAN ÖNCE OSMANLI’DA SOSYAL YAŞAM VE MÜZİĞİN DURUMU 2 1.2 OSMANLI İMPARATORLUĞU’NDA EĞİTİM KURUMLARI ...................................................... 9 1.2.1 MEHTERHANE ............................................................................................................... 9 1.2.2 MEVLEVİHANE ............................................................................................................. 14 1.2.3 ENDERUN .................................................................................................................... 15 II. BÖLÜM ..................................................................................................................................... 18 2. ATATÜRK’ÜN SANATA VERDİĞİ ÖNEM VE KÜLTÜR KAVRAMININ TANIMI.............................. 18 2.1 ATATÜRK VE MÜZİK ........................................................................................................... 26 2.2 MIZIKA-I HUMAYUN’DEN CUMHUR BAŞKANLIĞI SENFONİ ORKESTRASINA ..................... 39 III. BÖLÜM .................................................................................................................................... 57 3. KÜLTÜRÜMÜZ ÜZERİNDE ARAŞTIRMA VE EĞİTİM YAPAN YABANCI BESTECİLER.................... 57 3.1 PAUL HINDEMITH ............................................................................................................... 57 3.2 BELA BARTOK ..................................................................................................................... 63 IV. BÖLÜM .................................................................................................................................... 74 4. CUMHURİYET DÖNEMİ BESTECİLERİMİZİN MÜZİK HAYATINA KATKILARI ............................... 74 vi 4.1. CUMHURİYET DÖNEMİNDE TÜRK MÜZİĞİNİN DURUMU ve TÜRK MÜZİĞİNİN KÖKENİ HAKKINDA DÜŞÜNCELER ......................................................................................................... 74 4.2 CUMHURİYET DÖNEMİ ÇAĞDAŞ TÜRK MÜZİĞİ ve YABANCI UZMANLARIN ULUSAL MÜZİĞİMİZİN OLUŞTURULMASIYLA İLGİLİ GÖRÜŞLERİ ........................................................... 87 V. BÖLÜM ................................................................................................................................... 104 5. HALKEVLERİ ve SANAT POLİTİKASININ GÜNÜMÜZE YANSIMALARI ....................................... 104 5.1 HALKEVLERİ ...................................................................................................................... 104 SONUÇ ........................................................................................................................................ 114 KAYNAKÇA .................................................................................................................................. 115 vii ġEKĠLLER ġekil 1: L.V. BEETHOVEN ............................................................................................ 77 ġekil 2: R. WAGNER ...................................................................................................... 77 ġekil 3: ġakir Ağanın bestelediği Ģarkı ............................................................................ 78 ġekil 4: Rimsky KORSAKOFF ....................................................................................... 79 ġekil 5: C. W. GLUCK .................................................................................................... 80 ġekil 6: YurtdıĢına eğitim için gönderilen kiĢilerin listesi ............................................... 88 ġekil 7: 1925-1928 yılları arasında YurtdıĢında Müzik Eğitimi Gören Sanatçı, Besteci ve Eğitimciler ........................................................................................................................ 89 ġekil 8: Bestecilerimizin doğum tarihlerine göre sıralanmıĢ listesi .............................. 100 ġekil 9: Yurt dıĢında müzik eğitimi almak için tercih edilen okullar ............................ 101 viii KISALTMALAR Aynı eser/yer : A.e. Adı geçen eser : A.g.e Bakınız : bkz. Basım tarihi yok : t.y. Basım yeri yok : y.y. Çeviren : Çev. Doktor : Dr. Milattan Önce : M.Ö. Milattan Sonra : M.S. Profesör : Prof. Sayfa/sayfalar : s. TRT : Türkiye Radyo ve Televizyon Kurumu Yardımcı Doçent : Yrd.Doç. Yayınlar : yay. Yüzyıl : yy. ix GĠRĠġ Günümüzde gerek Batı ülkelerinde, gerek diğer ülkelerde sürekli bir ‗Batılılık‘ tartıĢması vardır. Özellikle ülkemizin Avrupa Birliği‘ne girmeye çalıĢtığı Ģu dönemde bu tartıĢmalar yoğunlaĢmıĢtır. Kimi Avrupa Birliği ülkeleri bizi Batılı olmamakla,
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