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19. yüzyıl Bektâşî geleneğinin en önemli temsilcilerinden biri olan Edîb Harâbî’nin şiirleri yaşadığı dönemden itibaren sözlü aktarımın yanı sıra cönk ve mecmua gibi yazılı kaynaklar yoluyla yaygınlık kazanmıştır. Sadeddin Nüzhet [Ergun], Edîb Harâbî’nin Kâf ü nun hitâbı izhâr olmadan sözleriyle başlayan nefesinin, kendine mahsus melodisi ile Bektâşî çevrelerinde yaygın olarak seslendirildiğini belirtmektedir. Ancak, 20. yüzyılın ilk çeyreğinden itibaren literatüre giren ve çeşitli arşivlerde muhafaza edilen notalarda, Edîb Harâbî’nin bu nefesinin benzer, kısmen benzer ve farklı melodilerle icra edildiği görülmektedir. Bu notalar çoğunlukla Bektâşî musikisine ilişkin verileri aktarsa da, nefesin İstanbul çevresindeki farklı tarikatların ayinlerine taşındığına işaret eden izler de vardır. Bununla birlikte, Anadolu’da gerçekleştirilen derleme çalışmalarında nefesin birbirinden bağımsız melodilerle seslendirilen örnekleri tespit edilmiştir. Dolayısıyla, Edîb Harâbî’nin nefesini ihtiva eden musiki kaynakları, Sadeddin Nüzhet’in nefesin yaygınlığı konusundaki tespitini doğrulamakta, fakat bu yaygınlığın farklı coğrafî alanlarda ve benzer, kısmen benzer ve farklı melodiler yoluyla gerçekleştiğine işaret etmektedir. Bu çalışmada, Edîb Harâbî’nin bu nefesinin inşâd edildiği melodiler, literatür taraması ve arşiv araştırması yoluyla tanımlanmakta, temin edilen notalar ve ses kayıtları üzerinden nefesin 20. yüzyılda Alevî-Bektâşî çevrelerindeki yaygınlığı ve müzikal çeşitliliği ortaya çıkarılmaktadır. Çalışmada nefesin klasik üslupta bestelenmiş Hüzzam/Segâh, Eviç Huzi, Neva ve Rast makamlarındaki en az beş farklı melodi ile icra edildiği; ayrıca, Tunceli, Konya, Amasya ve Sivas’ta gerçekleştirilen derlemelerde birbirinden bağımsız âşık tarzı melodilerle seslendirildiği anlaşılmıştır.
Since the 19th century, one of the most important representatives of the Bektasian tradition, the poems of Edib Harabi have gained popularity through oral translation as well as written sources such as cönk and mecmua. You are the worshippers, the worshippers. Unless the word is revealed He says that his breath begins with his words, and that his own melodies are broadly spoken in the Bektâşî surroundings. However, in the notes that entered literature from the first quarter of the 20th century and kept in various archives, it is seen that this breath of Edib Harabi was performed with similar, partially similar and different melodies. Though these notes mostly transmit data about Bektâşî music, there are also traces that indicate that the breath is moved to the rituals of different taricates around Istanbul. However, in the compilation studies carried out in Anadolu, examples of the breath were identified with independent melodies of each other. Therefore, the musical sources containing the breath of Edib Harabi confirm the discovery of Sadeddin Nüzhet about the spreadness of the breath, but indicate that this spreadness occurs in different geographical areas and through similar, partially similar and different melodies. In this study, this breath of Edib Harabi is identified through the melodies, literary scans and archive research, and through the provided notes and sound records breathing 20. In the century, the spread and musical diversity of the Alevî-Bektâşî surroundings are revealed. In the study it was understood that the breath was performed with at least five different melodies in the Hüzzam/Segâh, Eviç Huzi, Neva and Rast authorities composed in the classical style; in addition, the compositions performed in Tunceli, Konya, Amasya and Sivas were spoken with independent love-style melodies.
The poems of Edîb Harâbî, one of the most important representatives of the 19th century Bektashi tradition, have gained popularity through written sources such as cönks and mecmuas, as well as oral transmission since the time he lived. Sadeddin Nüzhet [Ergun] states that Edîb Harâbî’s nefes, which begins with the words Kâf ü nun hitâbı izhâr olmadan, is widely sung in Bektashis with its unique melody. However, in the musical notations that entered the literature and preserved in various archives since the first quarter of the 20th century, it is seen that this nefes of Edîb Harâbî was performed with similar, partially similar and different melodies. Although these notations mostly convey data on Bektashi music, there are also traces indicating that the nefes was carried over to the rituals of different sects around Istanbul. However, in the fieldworks carried out in Anatolia, samples of the nefes performed with distinctive melodies were determined. Therefore, the musical sources containing Edîb Harâbî’s nefes confirm Sadeddin Nüzhet’s determination of the prevalence of nefes, but point out that this prevalence occurred in different geographical areas and through similar, partially similar and different melodies. In this study, the melodies on which this nefes of Edîb Harâbî is built are defined through literature review and archive research; the prevalence and musical diversity of nefes in the Alevi-Bektashi people in the 20th century is revealed through the provided notations and sound recordings. In the study, it was determined that the nefes was performed with at least five different melodies in the maqams of Hüzzam/Segâh, Eviç Huzi, Neva and Rast, which were composed in classical style; in addition, it was understood that in the fieldworks carried out in Tunceli, Konya, Amasya and Sivas, it was performed with distinctive minstrel melodies.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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