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Osmanlı dönemi’nde Batı müziği II. Mahmud zamanında (1826) mehter takımının kaldırılarak askeri bandonun kurulması ile kabul edilmeye ve Muzıka-i Hümâyun’un kurulması, İtalyan besteci Giuseppe Donizetti'nin getirilmesi ile birlikte Türk müziğinin yanı sıra Batı müzik eğitimi de resmen verilmeye başlamıştır. Donizetti Paşa 1856’da, Callisto Guatelli 1899’da vefatına kadar ve ardından da D’Arenda Paşa Muzıka-yı Hümâyun’da birçok öğrenci yetiştirmişlerdir. Muzıka-i Hümâyun’da yetişen Türk öğrenciler, Batı müziği nazariyatı ve solfej eğitimine yönelik çeviri ya da telif birçok kitap yayınlamışlardır. Bu yayınlar arasında ilk ve en önemli eserlerden ikisi flütist Mustafa Safvet [Atabinen] Bey'e ait Solfej Yahud Nazariyat-ı Musiki (1888/1889) ve Mehmed Zati [Arca] Bey'e ait Kütübhane-i Musikiden Talim-i Kıraat-ı Musiki (1899/1900) adlı eserlerdir. Bu eserler Osmanlı dönemi’nin ilk basılı Türkçe solfej kitaplarıdır. Çalışmanın amacı da eserlerin eski harflerden yeni harflere çevirmek sureti ile kullanılan terimlerin günümüze yansımalarını incelemek, kitaplarda yer verilen solfej örneklerinin günümüz mesleki müzik eğitiminde kullanılabilirliğini araştırmak olarak belirlenmiştir. Kitaplarda uygulamaya yönelik hazırlanan çalışma başlıklarının şu şekilde olduğu belirlenmiştir: "ta'lîmler", "temrîn", "kırâat", "vazifeler", "tenbîhler", "mülâhâzat", "meşk" ve "imlâ". Bu başlıklar nazari bilgilerin pekiştirilmesi, icra edilmesi, yazdırılması ve değerlendirilmesi amaçlarına göre belirlenmiştir. Ayrıca bu kitapta yirmi beş "çift sesli solfej" örneklerine de yer verilmiştir. Bu solfejlerin bir kısmı da sözlü eserlerdir. Kitapta geniş ölçüde yer verilen aksak ritimli usullerin öğretilmesinde Türk müziği eserlerine de yer verilmesi Türk müzik eğitimi, çift sesli solfej örnekleri ise çok sesli işitme eğitimi açısından önemli olduğu söylenebilir. Solfej yahud Nazariyat-ı Musiki ve Kütübhâne-i Musikiden Talim-i Kırâat-ı Musiki kitaplarının Türkçe Batı müziği terminolojisinin oluşmasında da önemli bir yer teşkil ettiği görülmüştür.
During the Ottoman period in the time of Mahmud II (1826), the education of Western music began to be given formally alongside Turkish music by doing away with the janissary band, through the establishment of the military band, Muzıka-i Hümâyun and by the commissioning of the Italian composer Giuseppe Donizetti . Donizetti trained many students until his death in 1856. After that another Italian composer, Callisto Guatelli, was commissioned by Abdulhamid II until his death in 1899. The Spanish composer D'Arenda Guatelli in Music and replaced him later.Turkish students have published many books or translations of Western music theory and solfege education. One of the first and most important works among these publications is "Solfej Yahud Nazariyat-i Music (Solfege or Music Theory) (1888/1889)" by the flautist Mustafa Safvet [Atabinen] Mr, who is an educator of the Muzika-i Hümâyun (The Imperial Band of the Ottoman Empire) and the other is "Bibliothèque-i Musikiden Talim-i Kıraat-i Music (Teaching and Reading of Music From Library of Music) (1899/1900)" by theviolinist Mehmed Zati [Arca] Mr, who is also an educator of the Muzika-i Hümâyun. These works are the first printed Turkish solfege books of the Ottoman period. The aim of this study is first to examine the extant terms used by converting these two books from old letters to new letters and then to investigate the usability of the solfege samples included in the books in today's professional music education and to bring them into today's solfege education. The titles of the works which were prepared for practice are determined as follows: "ta'lîmler", "temrîn", "kırâat", "vazifeler", "tenbîhler", "mülâhâzat", "meşk" and "imlâ". These titles are determined according to the purposes of consolidating, performing, printing and evaluating the theoretical knowledge. Moreover, in this book, twenty five "two voice solfege" examples are also included. Some of these solfeges are vocal works. Turkish music works are used for teaching syncopated rhythms which occur frequently in the book. Moreover it can be said that two voice solfege examples are also crucial in terms of polyphonic hearing. It’s seen that the books The Music and the Library of Music and the Music play an important part in comprising the terminology of Turkish Western music.
During the Ottoman period in the time of Mahmud II (1826), the education of Western music started to be given formally alongside Turkish music by doing away with the janissary band, through the establishment of the military band, Muzıka-i Hümâyun and by the commissioning of the Italian composer Giuseppe Donizetti . Donizetti trained many students until his death in 1856. After that another Italian composer, Callisto Guatelli, was commissioned by Abdulhamid II until his death in 1899. The Spanish composer D'Arenda helped Guatelli in Muzıka-yı Hümâyun and replaced him later.Turkish students have published many books or translations of Western music theory and solfege education. One of the first and most important works among these publications is "Solfej Yahud Nazariyat-ı Musiki (Solfege or Music Theory) (1888/1889)" by the flautist Mustafa Safvet [Atabinen] Bey, who is an educator of the Muzıka-i Hümâyun (The Imperial Band of the Ottoman Empire) and the other is "Kütübhane-i Musikiden Talim-i Kıraat-ı Musiki (Teaching and Reading of Music From Library of Music) (1899/1900)" by theviolinist Mehmed Zati [Arca] Bey, who is also an educator of the Muzıka-i Hümâyun. These works are the first printed Turkish solfege books of the Ottoman period. The aim of this study is firstly to examine the extant terms used by converting these two books from old letters to new letters and then to investigate the usability of the solfege samples included in the books in today's professional music education and to bring them into today's solfege education. The titles of the works which were prepared for practice are determined as follows: "ta'lîmler", "temrîn", "kırâat", "vazifeler", "tenbîhler", "mülâhâzat", "meşk" and "imlâ". These titles are determined according to the purposes of consolidating, performing, printing and evaluating the theoretical knowledge. Moreover, in this book, twenty five "two voice solfege" examples are also included. Some of these solfeges are vocal works. Turkish music works are used for teaching syncopated rhythms which occur frequently in the book. Moreover it can be said that two voice solfege examples are also crucial in terms of polyphonic hearing. It is seen that the books Solfej Yahud Nazariyat-ı Musiki and Kütübhâne-i Musikiden Talim-i Kırâat-ı Musiki play an important part in comprising the terminology of Turkish Western music.
Field : Eğitim Bilimleri; Filoloji; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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