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Composition Style of Modern Turkish Composer Cemal Reşit Rey

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Özlem ONUK, AJERR, 2017; 2:1 Research Article AJERR 2017,2:1 American Journal of Educational Research and Reviews (ISSN:2474-9265) Composition Style Of Modern Turkish Composer Cemal Reşit Rey Özlem ONUK Assistant Professor Dr., Gaziosmanpaşa University Education Faculty, The Department of Music Education, Tokat/ Turkey ABSTRACT Having been one of the first generation composers in the history *Correspondence to Author: of Turkish Republic, Cemal Reşit Rey (1904- 1985) is an import- Özlem ONUK ant artist who served much as a pianist, conductor and educa- Assistant Professor Dr., Gazios- tor. He helped the advance of Turkish composition through his manpaşa University Education Fac- works. Therefore, Cemal Reşit Rey and his works are worth to ulty, The Department of Music Ed- be examined. ucation, Tokat/ Turkey, ozlem.onuk @gop.edu.tr With this study, it was aimed to bring a new perspective on the works and composition style of Cemal Reşit Rey. When the compositions of Rey were examined, four different periods were How to cite this article: observed in terms of style and composition technic: 1st period Özlem Onuk. Composition Style Of (1912-1926) was “tonal formation and development in creation”; Modern Turkish Composer Cemal 2nd period (1926–1930) was “ethno-folkloric formation and Reşit Rey. American Journal of Ed- development in creation”; 3rd period (1931–1946) was “mod- ucational Research and Reviews, al-mystic formation and development in creation”; and 4th period 2017,2:1. (1946–1983) was “back to tonality and mixed practices in cre- ation”. He composed a total of 85 known pieces which demon- strated different style, pattern, form and musical characteristics. Most of his works were symphony, symphonic poem, suite, rhapsody and concerto. eSciPub LLC, Houston, TX USA. Key Words: Turkish composer, composing style, Cemal Reşit Website: http://escipub.com/ Rey AJERR: http://escipub.com/ajerr/ 0001 Özlem ONUK, AJERR, 2017; 2:1 Introduction move to Paris in 1913, but in 1914 the invasion of Paris left the family in a difficult position, and Cemal Reşit Rey is an important composer who Ahmet Reşit Rey. His family went to Geneva with is internationally popular and has affected so the help of the French Government and stayed many cultural fields from education to theater there until 1919 (İlyasoğlu 2005: 27). and opera stages. There are many services of him during the institutionalization of Turkish mu- During his years in Paris, Cemal Reşit Rey sees sic culture. Mahler as an orchestra director, and the direc- tor of the conservatory, Gabriel Faure, listens Rey; in a group of composers which sometimes to his piano. Faure sends him to the famous referred as Türk Beşleri (Necil Kâzım Akses, pedagogue Marguarite Long after he listens to Hasan Ferit Alnar, Ulvi Cemal Erkin, Cemal him. Debussy’s student, famous pianist Mar- Reşit Rey ve Ahmet Adnan Saygun), is the only guarite Long, a close friend of Ravel, is closely important person who has been able to continue interested in him and teaches piano. In Geneva his music education with his family and his own he continues to the Geneva Conservatory and possibilities and influenced foreign composers goes up to master class, but in 1919 he returns and instructors with his superior ability in music to Istanbul because of his father’s internal du- (Uyar, 2010:10). ties. His father leads him to a piano teacher in Istanbul, but Cemal Resit’s knowledge is more Object than this piano teacher. This time Cemal Reşit is In this study; the works of Cemal Reşit Rey and being trained in Paris alone, starting to work with his composing style were taken together with the Marguerite Long again. He takes music aesthet- musical development. In terms of compositional ics lessons from Gabriel Faure at the Conser- style, some of the works in these periods, were vatory. He works with composer Raoul Laparra tried to explain the stylistic features. and conducts orchestra choreography with Henri Defosse. In college years, he starts to get inter- Methods and Resrictions ested in his compositions (İlyasoğlu, 2001:280; Uyar, 2010: 15). In this study, descriptive analysis, which is the one of the qualitative research methods, was His brother Ekrem Reşit Rey graduated from used. Geneva Academy of Fine Arts with first place. Thanks to his good reputation, he has worked as Cemal Reşit Rey’s Life a French teacher and book translator at Istanbul His father was Ahmet Reşit Rey, born in 1870 Technical University. He has performed many in Istanbul. Ahmet Reşit Bey’s father is former theatrical performances he has directed. With Çankırı governor Abdullah Şefik Bey. Ahmet Re- his brother Ekrem Cemal Reşit Rey, they direct- sit Rey married Fethiye Hanim in 1896 and her ed many operas and operattas (Türe, 1997: 16). first child Fatma Samime was born in 1898. Ce- mal Reşit Rey’s elder brother Ekrem Reşit Rey When the Republic was declared in Istanbul in was born in 1900, when Ahmet Reşit Bey was 1923, Rey returned home and started to teach at appointed as the governor of Jerusalem in 1904 the Istanbul Conservatory. Cemal Reşit Rey es- in Jerusalem (Kurşunet, 2014: 34). tablished a choir in 1926. Then, as Istanbul Trio, Ahmet Resit served as an important politician in he creates concerts of the cello-violin-piano trio the Ottoman Empire. Thanks to his hard work with Asal siblings. Again in 1926, Cemal Reşit and knowledge, he became the 3rd clerk of Rey was selected as a member of the Compos- Yıldız Palace in 1892 and later served as gov- ers’ Union, and since that date all of his works ernor in Monastir (1906), Ankara (1907) and have been under the protection of copyright Aleppo (1908). The Rey family, who settled in (Güner, 2000: 10). Istanbul in 1909, stayed in Istanbul for a short time. There Cemal Reşit Rey, attends to Mektebi In 1934, Rey formed a string ensemble. Some Sultani, today Galatasaray High School. Due to of the members are conservator students; others his father’s political situation, he was forced to are musicians from other professions. The band AJERR: http://escipub.com/ajerr/ 0002 Özlem ONUK, AJERR, 2017; 2:1 became a symphony orchestra in 1944 with the melody (main theme) in compositions, and that addition of breathable instruments. In 1945, it he was influenced by Stravinsky and Ravel, from was named Istanbul City Orchestra. In 1972, it the harmonic structure of Bartok in rhythmical became an orchestra with regular concerts ev- terms, formally he was under the effect of Ravel. ery Sunday depending on the municipality and Stravinsky’s influence was seen in the fast pace, in 1972 it became the Istanbul State Symphony and his beloved composers were Chopin and Orchestra (İlyasoğlu, 2001:280). Debussy (Aydın 2003:31). He has never pro- duced ordinary works, he has always tried to get In 1938 he chaired the Department of Western into the essence of the work in consciousness Music in Ankara and Istanbul Radios. He pre- and philosophy. Despite technical difficulties to pared and presented the “Piano World Trips” express the artwork, he searched for the best program. In 1945 he founded the Istanbul Phil- way (İlyasoğlu, 2005:239). harmonic Society with the help of music lovers from Istanbul. Under his leadership, many con- On the composer’s piano music composer and certs were given both domestically and in many academic Ertuğrul Sevsay says as follows: “Ce- overseas cities such as Paris, Rome, Naples, mal Bey’s piano music has richness beyond pia- Athens, Belgrade, Madrid and Bucharest (Say, no. You can hear an orchestra. For this reason, it 1985a: 1086). is not difficult to make them symphonic “(İlyasoğ- lu, 2005:238). Between 1932 and 1942, he composed oper- etta and revue music along with his older brother Musicologist Halil Bedii Yönetken says that for Ekrem Reşit. Each play aroused great interest. the first time in history A Turkish composer who Despite the belief of some classical music artists has made himself accepted to the world pre- that Rey wasted time, Rey did not underestimate sented Turkish Folkloric Music . Composer Ilhan his operetta and revue studies. In 1985, Lüküs Usmanbaş found the music of Rey very hard, Hayat was performed after 51 years at Istanbul complicated and incomprehensible. They have City Theater under the direction of Haldun Dor- argued that it is necessary to understand the- men. Cemal Reşit Rey was in sickbed and was matic associations, harmonic structure, using tilt, taken out of the hospital especially for the gala tonal, modal and atonality (Aydın, 2003: 31). night and brought to Harbiye Muhsin Ertuğrul Theater. After many years, the work was a great Orchestra maestro Pertev Apaydın says that success. The work and Rey were applauded for in the works of Rey; there is a structural con- several minutes. The next day he was hospital- sistency, and that Rey has a unique harmonic ized again and died afterwards (Akgül, 2009:22). structure in his works, quartets, quintuplets and counterpoints. Cemal Reşit Rey was honored with the title “State Artist” in 1982. Art historian and musicologist Cevat Memduh Altar; prepared the following chart after analyz- Cemal Reşit Rey’s Composing Style ing Cemal Reşit Rey’s experiences of creativi- ty, performance, conduct and organization over Cemal Reşit Rey clearly exhibited the current seventy years. trends and the musical character of his coun- try in his works. He mastered the Turkish mu- Composition based on tone factor sic items in his works and laid the foundations of contemporary polyphonic music. Many important 1) Tonal formation and development in creation; musicologists, educators and artists expressed 2) Ethno-folklore formation and development in opinions on Cemal Reşit Rey’s music.
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    Hellenic Journal of Music Education, and Culture A brief history of Kurdish music Copyright © 2013 recordings in Turkey Vol. 4 | Article 2 ISSN 1792-2518 www.hejmec.eu ROBERT F. REIGLE Centre for Advanced Studies in Music, Istanbul Technical University, Istanbul, Turkey [email protected] | This article delineates the complex history of Kurdish music recordings in Turkey by dividing it into seven periods. The first period begins with the very first recording of Kurdish music, in 1902. Political events demarcate the remaining periods, embracing the founding of the Turkish Republic, three military coups, the initial legalization of Kurdish language use and further easing of restrictions on broadcasting. The recordings discussed here include those recorded in, manufactured in, or imported to Turkey, both legally and illegally. In addition to the legal environment, the evolution of sound recording and distribution technology also shaped access to and use of Kurdish musics. It is hoped that further research be undertaken urgently, before the remaining sound recordings of the 20th century disappear, and the people who understand their history leave us. Keywords: Dengbêj, Kurdish music, sound recordings, Turkey The purpose of this article is to delineate periods in the complex history of Kurdish music recordings in Turkey. As in every society, the forms of mediation – the types of commodification – shaped the distribution, use, and impact of music, one of society‘s most powerful forces. For Kurdish- language speakers in Turkey, however, language restrictions led to an extraordinary gap in the recording of everyday music practice. This article should also call attention to important lacunae in the literature, including a rigorous discography, and documentation of performers and performance practices.
  • I T.C. Başkent Üniversitesi Sosyal Bilimler Enstitüsü

    I T.C. Başkent Üniversitesi Sosyal Bilimler Enstitüsü

    T.C. BA ŞKENT ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK VE SAHNE SANATLARI ANAB İLİM DALI MÜZ İK B İLİMİ YÜKSEK L İSANS PROGRAMI FER İT TÜZÜN’ÜN ÇAĞDA Ş TÜRK BESTEC İLİĞİ İÇİN ÖNEM İ HAZIRLAYAN ONUR ŞENEL DANI ŞMAN DR. ERDO ĞAN OKYAY ANKARA - 2006 I İÇİNDEK İLER Sayfa no İÇİNDEK İLER…………………………………………………………………….I TE ŞEKKÜR……………………………………………………………………… .III ÖNSÖZ…………………………………………………………………………….IV ÖZET………………………………………………………………........................VI ZUSAMMENFASSUNG………………………………………………………….VII NOTALAR L İSTES İ………………………………………………........................X TABLOLAR L İSTES İ…………………………………………………………….XI GİRİŞ ………………………………………………………………………………XII Malzeme ve Yöntem………………………………………………………………XIII BİRİNC İ BÖLÜM : Ça ğda ş Türk Bestecili ği ve Ferit Tüzün’ün Ça ğda ş Türk Bestecili ğindeki yeri…………………………………………………………..….....1 1.1.Ça ğda ş Türk Bestecili ğine Bir Bakı ş……………………………………………1 1.2.Cumhuriyet Dönemi İlk Ku şak Bestecileri; Türk Be şleri……………………….6 1.2.1. Cemal Re şit Rey………………………………………………………………7 1.2.2. Hasan Ferid Alnar………………………………………………………….....11 1.2.3. Ulvi Cemal Erkin……………………………………………………………..15 1.2.4. Ahmet Adnan Saygun………………………………………………………...18 1.2.5. Necil Kazım Akses…………………………………………………………...22 1.2.6. Türk Be şleri’nden sonra ça ğda ş Türk Bestecili ği………………………….....25 1.3. Ferit Tüzün,Ya şamı, eserleri ve bestecili ği……………………………………..29 1.3.1. Ya şamı………………………………………………………………………..29 1.3.2. Eserleri ve Bestecili ği……...…………………………………………………31 1.4. Muammer Sun ………………………………………………………………….37 1.5. İlhan Baran……………………………………………………………………...38 İKİNC İ BÖLÜM ; Ferit Tüzün ve Ça ğda ş Türk bestecilerinden bazı bestecilerin eserlerinin incelenmesi ve kar şıla ştırılması…………………………………………39 2.1.Tüzün’ün Bazı Eserlerinin incelenmesi………………. ………………………..39 2.1.1. Esintiler……………………………………………………………………….39 I 2.1.2.Türk Kapriçyosu…………………………………………………....................72 2.1.3. Çayda Çıra……………………………………………………………….…...96 2.1.4.
  • T.C. Çukurova Üniversitesi Sosyal Bilimler Enstitüsü Müzik Anasanat Dali Cemal Reşit Rey'in Çağdaş Türk Mü

    T.C. Çukurova Üniversitesi Sosyal Bilimler Enstitüsü Müzik Anasanat Dali Cemal Reşit Rey'in Çağdaş Türk Mü

    T.C. ÇUKUROVA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ MÜZİK ANASANAT DALI CEMAL REŞİT REY’İN ÇAĞDAŞ TÜRK MÜZİĞİNE KATKILARI Gizem GÜLER YÜKSEK LİSANS TEZİ ADANA - 2010 T. C. ÇUKUROVA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ MÜZİK ANASANAT DALI CEMAL REŞİT REY’İN ÇAĞDAŞ TÜRK MÜZİĞİNE KATKILARI Gizem GÜLER Danışman: Doç. Vanya BATCHVAROVA YÜKSEK LİSANS TEZİ ADANA – 2010 Çukurova Üniversitesi Sosyal Bilimler Enstitüsü Müdürlüğüne, Bu çalışma, jürimiz tarafından Müzik Anasanat Dalı’nda YÜKSEK LİSANS TEZİ olarak kabul edilmiştir. Başkan : Doç. Vanya BATCHVAROVA (Danışman) Üye: Prof. Rusko Vasilev RUSEV Üye: Yrd. Doç. Dr. Mustafa BAYIK ONAY Yukarıdaki imzaların, adı geçen öğretim elemanlarına ait olduklarını onaylarım. ......../…..../2010 Prof. Dr. Azmi YALÇIN Enstitü Müdürü Not: Bu tezde kullanılan özgün ve başka kaynaktan yapılan bildirişlerin, çizelge, şekil ve fotoğrafların kaynak gösterilmeden kullanımı, 5846 Sayılı Fikir ve Sanat Eserleri Kanunu’ndaki hükümlere tabidir. i ÖZET CEMAL REŞİT REY’İN ÇAĞDAŞ TÜRK MÜZİĞİNE KATKILARI Gizem GÜLER Yüksek Lisans Tezi, Müzik Anasanat Dalı Danışman: Doç. Vanya BATCHVAROVA Mayıs 2010, 85 Sayfa Bu Tezde; Türkiye'de çok sesli müziğin benimsenmesi yaygınlaşması ve sevilmesi için dolu dolu 60 yıl yaşayan bestecimiz Cemal Reşit Rey'in mücadelesi ve kat ettiği yol incelenmiştir. Bestecinin kimliği; • Yaşamı • Besteci, Eğitimci ve Şef Olarak Cemal Reşit Rey • Bestelerinin Dönemsel Olarak İncelenmesi • Eserleri • Türk Beşleri • Türk Beşlerinin Etkilendiği Akımlar gibi başlıklar altında işlenerek anlatılmak istenmiştir. Ayrıca; • Türkiye’de Müzik İnkılâbının İlk Dönemi • Atatürk’ün Müzik Devrimi • Atatürk’ün Kültür Politikası gibi başlıklar altında ‘Cumhuriyet’in İlanı ve Türkiyede Müzik İnkılabı’ konusu işlenerek anlatılmak istenmiştir. Bu tezin oluşturulmasında Cemal Reşit Rey ile ilgili kaynaklardan, İnternet üzerinden yayınlanmış bilgilerden yararlanılmıştır. Anahtar Kelimeler: Cemal Reşit Rey, Çok Sesli Müzik, Türk Beşleri, Müzik Devrimi.