İstanbul Darülfünunu Türk Edebiyatı Tarihi müderrisi Mehmet Fuad Köprülü, Tevhid-i Efkâr’da 1924 yılında yayınlanan “Türk Musikisi Tarihi” başlıklı makalesinde, müzikolog ve besteci Rauf Yekta Bey’in daha önce Paris’te yayımlanan “La Musique turque” (Türk Müziği) başlıklı yazısından övgüyle bahsetmiş ve yazının içeriğini özetlemiştir. Hem Köprülü’nün hem de Rauf Yekta Bey’in makaleleri, Türk Müziği Tarihi bakımından ayrı ayrı önemlidir. Köprülü, makalesinin sonunda, Rauf Yekta’dan bilimsel nitelikte bir “millî musiki” yazısı yazmasını istemektedir. Burada “millî musiki” denilen müzik Türk halk müziğidir. Peki, Türk halk müziğini “millî” kılan sebepler nelerdir? Neden “millî musiki” denilen bir anlayış var olmuştur? Bu müziğe atfedilen “millî”lik Rauf Yekta Bey’in bahsettiği “Türk Musikisi”nde yok mudur? Tüm bu soruların cevapları, yazıların kaleme alındığı dönemde etkili olan “Milliyetçilik” akımı ile yakından ilişkilidir. Osmanlının son yıllarında başlayan bu akım, Türkiye’deki müzik kültürünü de derinden etkilemiştir. Köprülü’nün yazısının burada sunulan çevirisi, “millî musiki” düşüncesinin oluşma nedenlerini ve sürecini göstermek amacıyla yapılmıştır.
In an article entitled "Turkish Music History" published in 1924 in Tevhid-i Efkâr, the musician and composer Rauf Yekta Mr. has praised the article entitled "La Musique turque" (Turkish Music) previously published in Paris and has summarized the content of the article. Both the articles of Bridge and Rauf Yekta Mr. are distinctly important in terms of Turkish Music History. The bridge, at the end of his article, asks Rauf Yekta to write a "municipal music" writing of a scientific nature. The music called “milli music” is the Turkish folk music. What are the reasons why the Turkish people’s music is “military”? Why is there a sense that is called “Music”? Is there no "milli" in the "Turkish Music" referred to by Mr. Rauf Yekta? The answers to all these questions are closely related to the "Nationalism" stream, which was influential in the period when the writings were made. This flow, which began in the last years of the Ottomanism, has also profoundly influenced the music culture in Turkey. The translation of the text of the bridge presented here was made in order to show the causes and process of the formation of the "municipal music" thought.
Mehmet Fuad Köprülü, professor of the History of Turkish Literature at the Istanbul Darülfünun in an article titled “Türk Musikisi Tarihi” (History of Turkish Music, Tevhid-i Efkâr, 1924), praised and reviewed Rauf Yekta Bey’s article “La Musique turque” formerly published in Paris. Köprülü, in the aforementioned article, had proposed that Rauf Yekta Bey write about “milli musiki” (national music) which is meant to be Turkish folk music. What are the reasons that make Turkish folk music “national”? Why and how did a concept called “national music” emerge? Why is the national character attributed to Turkish folk music not present in the “Turkish Music” mentioned by Rauf Yekta Bey? The answers to all these questions are closely related to the nationalistic movement that was deeply influential on musical culture. The current transliteration of Köprülü’s Ottoman Turkish article into Latin script was completed in order to document the emergence of the concept of “national music” in Turkey.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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