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Hüseyin Sadettin Arel (1880-1955), 1943’te ilmi kurul reisliğini üstlendiği İstanbul Belediye Konservatuvarında ve buradan ayrıldıktan sonra kurucusu olduğu İleri Türk Musikisi Konservatuvarı Derneğinde, müzik sahasında geçerlilik kazanabilecek, bilimsel söylemin kıstaslarına uygun bir bakış açısı geliştirmeye çalışmıştır. Bu bağlamda ulus devletin vatandaşları tarafından pedagojik eğitim-öğretim düzleminde paylaşılabilecek ve yine bu doğrultuda insanın merkezî konumunun dâhilinde onun duygularını muhatap almada yetkin kompozitörler-bestekârlar yetiştirmeye zemin oluşturabilecek bir müzikal perspektif sunmayı amaç edinmiştir. Arel için bu perspektif, bir bakıma sanatsal yaratımın en nihayetinde bulunan bireyler doğurabilecek bir müzik olgusu inşasının garantörü konumundadır. Arel, “Türk musikisi”[1] olarak adlandırdığı müziği, pozitivist ve rasyonel frekanslarla etkileşime girerek doğa kanunlarına, idealist ve romantik frekanslarla etkileşime girerek de tarihsel zemin ve ilerleme-gelişim mottolarına dayandırmıştır. Türk müziğine duyduğu ve mistik bağlamda anlamlandırılabilecek aşk duygusu bile bu bahsedilen ilişkisel zeminle etkileşim içerisindedir. Bunlardan hareketle Türk müziğinin makamsal yapısıyla birlikte armoniye -özellikle hali hazırdaki Avrupa müzik yazısı ‘nota’ tarafından formal ve içeriksel mahiyeti belirlenmiş- Batı müziği de dahil diğer dünya müziklerine kıyasla daha çok uyumlu olduğunu belirtmiştir. Bahsedilen nitelikleri haiz olan “Türk musiki”sinin yaratım platformunda söz sahibi yegâne merci ise milli hassasiyetleri bünyesinde barındıran bestekârdır. İşte bu bestekârın müziği “Türk musikisi”, yaşanılan yeni toplumsal ve bireysel perspektifin etkileşime girdiği olgulardan birisidir. Söz konusu makalenin vurgu noktası ise bahsedilen bu müziğin Arel’in düşünsel-eylemsel zeminleri ve toplumsal-bireysel ilişkileri dahilinde değerlendirilmesi gerektiğidir. [1] Makale boyunca musiki ve müzik sözcüklerinin her ikisi de kullanılmıştır. Musiki, Arel’in tercih ettiği sözcük olması bakımından tırnak içerisinde gösterilmiştir.
During his studies in the Istanbul Municipality Conservatory, of which he was the chairman of the scientific board in 1943, and afterwards in the Advanced Turkish Music Conservatory Association, of which he was the founder, Hussein Sadettin Arel (1880-1955) tried to develop a perspective that would conform to the principles of scientific discourse and gain validity. In this regard, he aimed at presenting a musical perspective, which can be shared on the level of pedagogical education by the citizens of the nation-state and can provide a basis for raising composers, who are competent in addressing to the feelings of people by taking into account the central position of man. This perspective for Arel, is a guarantee of building a musical base, which would raise individuals to the top of artistic creation in a way. Arel based the music he called as "Turkish Music" on laws of nature by means of its interactions with positivist and rational frequencies and on historical grounds and progress-development motto by means of its interactions with idealistic and romantic frequencies. Even the feeling of love he has towards Turkish music, which can be defined in mystical terms, is in interaction with this relative ground. Therefore, he stated that Turkish music is more compliant with harmony with its macam structure, compared to other kinds of music in the world including Western music (which is especially determined in form and content by the "note" as European musical writing used currently). The only authority on the creation platform of 'Turkish music', having the said qualities, is the composer, who incorporates national sensitivities. The music of this composer, 'Turkish music', is one of the phenomena in which the new experienced social and individual perspective is being being interacted. The point of emphasis for the article in question is the requirement to evaluate the said music on the level of Arel's thinking-acting grounds and social-individual relationships
During his studies in Istanbul Municipality Conservatory, of which he was the chairman of scientific board in 1943, and afterwards in Advanced Turkish Music Conservatory Association, of which he was the founder, Hüseyin Sadettin Arel (1880-1955) tried to develop a perspective that would conform to the principles of scientific discourse and gain validity. In this respect, he aimed at presenting a musical perspective, which can be shared on the level of pedagogical education by the citizens of nation-state and can provide a basis for raising composers, who are competent in addressing to the feelings of people by taking into account the central position of man. This perspective for Arel, is a guarantee of building a musical basis, which would raise individuals to the top of artistic creation in a way. Arel based the music he called as “Turkish Music” on laws of nature by means of its interactions with positivist and rational frequencies and on historical grounds and progress-development mottos by means of its interactions with idealistic and romantic frequencies. Even the feeling of love he has towards Turkish music, which can be defined in mystical terms, is in interaction with this relational ground. Therefore, he stated that Turkish music is more compliant with harmony with its maqam structure, compared to other kinds of music in the world including Western music (which is especially determined in form and content by the “note” as European musical writing used currently). The only authority on the creation platform of ‘Turkish music’, having the said qualities, is the composer, who incorporates national sensitivities. The music of this composer, ‘Turkish music’, is one of the phenomena in which the new experienced social and individual perspective is being interacted. The point of emphasis for the article in question is the requirement to evaluate the said music on the level of Arel’s thinking-acting grounds and social-individual relationships
Field : Eğitim Bilimleri; Filoloji; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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