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Türkiye’de müzikoloji disiplini kapsamında toplumsal cinsiyet konulu çalışmaların artışı ile kadın müzisyenler üzerine yapılan çalışmaların varlığı daha çok dikkat çekmektedir. Bu kapsamda yapılan çalışmaların çoğunlukla popüler müzik türünde yapılması, Türk müziği güftelerinde kadının varlığının nasıl olduğu sorusunu akla getirmiş ve bu çalışmanın doğmasına vesile olmuştur. Çalışma, Münir Nurettin Selçuk’un bestelediği eserlerin sözlerinde kadının nasıl temsil edildiği sorusu üzerine yapılandırılmıştır. Çalışma, Türk müziğinde kadın temaları içeren araştırmaların sayıca az olması ve Türk müziğinin 1900’lü yıllarda yaşamış olduğu değişimlerine tanıklık etmesi nedeniyle Münir Nurettin Selçuk’un bestelediği eserlerle sınırlandırılmıştır. Münir Nurettin Selçuk’a ait olan eserler tarama yöntemiyle tespit edilmiş, sözleri incelemeye tabi tutulmuştur. İncelenen 84 eserde içinde kadını temsil eden ifadelerin yer aldığı eserler çalışmanın verilerini oluşturmuştur. Kadını temsil eden ifadeleri içeren 28 eser müzikal ve sözel olarak analiz edilmiştir. Eserlerin öncelikle makam, usul, form, güftekâr açısından tasnifi yapılmış, elde edilen sayısal veriler grafiksel olarak gösterilmiştir. Kadına ilişkin ifadeler anlamlarına bağlı olarak kategorileştirilmiş, eserler içerisinde kadını temsil eden bu ifadeler anlamsal olarak incelenmiştir. Sonuç olarak incelenen bu 28 eserin içerisinde Münir Nurettin Selçuk’un en çok istifâde ettiği güftekâr Yahya Kemal Beyatlı, en çok kullandığı makam rast makamı, en çok kullandığı usûl aksak usulü, en çok tercih ettiği form şarkı formu olarak görülmüştür.
In Turkey, the increase in work on social gender in the framework of the musicology discipline and the presence of work on female musicians is more attracted. The work done in this scope is mostly in the popular music style, the question of how the woman is present in the Turkish music spots has brought into mind and has been the occasion for the birth of this work. The study is structured on the question of how the woman is represented in the words of Munir Nurettin Selçuk's works. The study was limited to the works by Münir Nurettin Selçuk because there was a very little number of research involving women's themes in Turkish music and witnessed the changes that Turkish music experienced in the 1900s. Those who are in the midst of the covenant are the ones who are in the midst of the covenant, and those who are in the midst of the covenant are the ones who are in the midst of the covenant. In the 84 work reviewed, the works that represent the woman included the data of the work. 28 works containing expressions representing the woman were musically and verbally analyzed. The works are first and foremost defined in terms of office, procedure, form, and scale, and the number of data obtained are graphically displayed. These expressions relating to the woman are categorized according to their meanings, and these expressions representing the woman in the works are studied meaningfully. As a result, among these 28 works studied by Münir Nurettin Selçuk's most popular buffert Yahya Kemal Beyatlı, the most used office case office, the most used procedure, the most preferred form of song form, was seen as the most popular form of song form.
The increase in studies on gender within the scope of the discipline of musicology in Turkey, and the existence of studies on female musicians in this context draw attention. The fact that the studies carried out in this context are mostly in the genre of the popular music brought to mind the question of how the existence of women in Turkish music lyrics was born, and inspired this study. The study is structured on the question of how women are represented in the lyrics composed by Munir Nurettin Selcuk. The study was limited to the works composed by Münir Nurettin Selçuk, since the number of studies involving women themes in Turkish Music was limited in numbers because he witnessed the changes that Turkish music had experienced in the 1900s. The works belonging to Münir Nurettin Selçuk were determined by survey method and his lyrics were examined. In the eighty four works examined, the works in which the expressions representing the woman were included constituted the data of the study. Twenty eight works containing expressions which represent women were analyzed musically and verbally. First of all, the works were classified in terms of mode, tempo, form, lyrics, and the numerical data obtained were shown graphically. Expressions about women were categorized depending on their meaning. In the works in which expressions representing women were identified, these were analyzed semantically. As a result, among these twenty eight works examined, it became evident that the lyrics that Münir Nurettin Selcuk used most was inspired by Yahya Kemal Beyatlı and that the rast maqam, the usûl and the song form were preferred by him.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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