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Bu makalede Osmanlı ve Türkiye Cumhuriyeti devletlerinde Türk mûsikîsinin karşılaşmış olduğu yasak uygulamaları ele alınmıştır. Batılılaşma, Türkiye Cumhuriyeti devleti ve toplum yapısında çok önemli değişiklikler meydana getirmiştir. Osmanlı’da modernleşmenin başlangıcı sayılan Tanzimat dönemi ile başlayıp, Türkiye Cumhuriyeti Devletinde son şeklini alan Batılılaşmanın Türk mûsikîsine etkileri ve sonucunda Türk mûsikîsine getirilen yasaklamalar makalemizin kapsamını oluşturmaktadır. Makalemizde ele alınan Türk mûsikîsi yasaklarının tarihsel zaman aralığı iki yüz yıllık dönemi kapsamaktadır. Bu iki yüz yıllık süreç Osmanlı Padişahı III. Osman’ın (1754-1757) uygulamaya koyduğu mûsikî yasağı ile başlayıp, Türkiye Cumhuriyeti Tek Parti döneminin bitiş tarihi ile son bulacaktır. Makalemizin tarihsel zaman aralığını III. Osman döneminden başlatmamızın nedeni, tahta geçer geçmez Enderun’da bulunan yetişmiş müzisyenlerin tümünü saraydan çıkartıp, saray içoğlanlarının bir asırdan fazladır mûsikî meşk edegeldiği Enderun Meşkhanesi’ni süresiz olarak tatil etmesidir. Tanzimat dönemi öncesinde karşılaşılan bu yasağın özelliği devlet tarafından uygulanan ilk mûsikî yasağı olmasıdır. 1950 yılını yasakların sonu olarak görmemizin nedeni ise, Tek Parti iktidarının son zamanlarında Türk mûsikîsi üzerindeki baskı ve yasakların azalmaya başlaması ve daha sonra gelen iktidarda, yasaklardan vaz geçilmesi gerektiği düşüncesinin hâkim olmasıdır. Makalemize özgünlük katacak olan iddiamız; Sebep-sonuç ilişkisi olarak Türkiye Cumhuriyeti ve Osmanlı modernleşmesi arasında Türk mûsikîsi açısından bağlantı vardır. Türk mûsikîsi yasağının ilk ortaya çıktığı dönem ile kaldırılmaya başlandığı dönem arasında geçen iki yüz yıllık süreç bir bütün olarak değerlendirilmelidir. Türk mûsikîsi yasakları belirli bir döneme has uygulamalar değildir. Yasakların getirdiği sorumluluk tek bir iktidara ya da döneme yüklenmemelidir.
This article discussed the prohibition practices that Turkish musicians encountered in the Ottoman and Turkish Republic states. The Westernization has made significant changes in the state and social structure of the Republic of Turkey. In Ottoman, the beginning of modernization begins with the Tanzimat period, and the effects of Westernization on the Turkish musicism, which has its last form in the Republic of Turkey, and the prohibitions brought to the Turkish musicism as a result, forms the scope of our article. The historical time range of the Turkish music prohibitions discussed in our article covers a two hundred years period. This two hundred years of process is the Ottoman Padişah III. It begins with the musical ban imposed by Osman (1754-1757) and the Republic of Turkey will end with the end date of the Single Party period. The historical time range of our article III. The reason for our start from the Ottoman era is that, when the tree passes, all the mature musicians in Enderun are removed from the palace, and the palace enthusiasts have left the Enderun Meşkhanesi for more than a century, where they have been musically busy. The characteristic of this ban, which was encountered before the Tanzimat period, is that it is the first musical ban applied by the state. The reason we see the 1950s as the end of the ban is that in the last days of the One Party power the pressure and the ban on the Turkish music began to decrease and in the subsequent power the idea that the ban should be abandoned. Our claim that will add originality to our article is that there is a connection between the Republic of Turkey and the Ottoman modernization as a cause-resultate relationship from the point of view of the Turkish musicism. The two hundred-year process between the period in which the Turkish music ban first appeared and the period in which it began to be removed should be considered as a whole. The Turkish music prohibition is not a specific period of practice. The responsibility brought by the ban should not be charged with a single power or period.
This article studies the application of the prohibitions that faced Turkish music in the Ottoman Empire and in the Republic of Turkey. Westernization brought about important changes in the Republic of Turkey in terms of structure of sociey. In the Tanzimat period, which saw the beginning of modernization in the Ottoman period, and after the Republic of Turkey took its final shape, Westernization had an impact on Turkish music and as a result, bans were placed on Turkish music. These prohibitions are the subject of our article. In our article, the historical time span of the Turkish music bans covers two hundred years. This two hundred-year period starts with the music prohibition imposed by the Sultan of the Ottoman Empire, Osman III (1754-1757), and ends with the time when the Republic of Turkey ended its single-party rule. We started the historical time interval of our article from the period of Osman III, because as soon as he rose to the throne, he removed all the musicians in Enderun from the palace and he closed Enderun Meşkhanesi for an indefinite period of time, which had been the place where palace boys had been playing music for more than a century. This ban, which occurred before the Tanzimat period, is the first music ban implemented by the state. We see 1950 as the end of the bans, because The Single Party government reduced the pressure and bans on Turkish music in the recent times of its power, and the power that replaced the Single Party thought that the bans should be dropped. Our claim will add originality to our article. Turkish music, the relationship between the Republic of Turkey and the Ottoman modernization reforms can be seen as a cause and effect relationship. The two-hundred-year period between the period when the Turkish music ban first appeared and the period when it was lifted should be evaluated as a whole. Turkish music bans are not practices specific to a certain period. The responsibility brought by the prohibitions should not be attributed to a single power or period.
Alan : İlahiyat
Dergi Türü : Ulusal
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