Özet:

Buhurizade Mustafa Itri Efendi, the XVII, the last period in which the Ottoman Music Tradition could contact the past. It is one of the most controversial characters of the century. Itri is an artist who has shaped the tradition after him with the attributes of the works held in the memory of the entire Islamic world, such as "Segah Tekbir, Salat-i Ummiye", "consciousness" or "powerful composition" with the characteristics that are formed around his name and has reached the "science" part. However, the details of the process of identification with the name of the "great" rating that Itri should have acquired by the influence of the "mastery" part are not very clear. Some details about these details may be revealed only through the mutual study of the practical and theoretical music resources of the period and other art productions. The first stage here is the discovery of some details of Itri’s life, for the details of life will make a better understanding of the social life that is experienced and produced by music and the relationships here. In this phase, as works related to music should be taken to be assessed, the information in works related to certain fields such as history, literature is also required to be classified and studied. The second phase is the mutual study of theoretical and practical music sources. The works defined as theoretical sources are generally handwriting Nazariate sources that are gathered under the title "edvar". The practical works are compositions attributed to Itri and noted in different periods. The comparative study of the theoretical and practical music sources within the framework of other social history information will put the seeds of a comprehensive study that will reveal the technical effects of Itri and its composition on the Ottoman music tradition. The objective of this presented preliminary work is XVII. and XVIII. The centuries of musical characteristics are the first steps to investigate by taking the name of Itri in the center. Such studies will be able to reveal the musical preferences of a period that can be called the peak of the Ottoman music tradition, and will be able to reveal the social causes under these preferences.

Anahtar Kelimeler:

Özet:

Buhurizade Mustafa Itri Efendi, is one of the most interesting musical personalities of XVII.century Ottoman musical scene, which can be identified as the last era to be culturally connected to the roots of the Ottoman Musical Tradition. Itri received significance as a “master”, by both being “well known” as the composer of important religious music examples of the Islamic World like “Segah Tekbir and Salat-ı Ümmiye”, and being named as a “great composer” due to his musical power that had affected the following generations. But, the details of the “process”-that should b related to the above characters of Itri- by which he had been dignified with the attribute “great” is not yet clear. The research about these details will be only possible with a comparative survey of the practical-theoretical musical works of the period with other sources of art produced in the same era. The first step of such a research should be based on the clues about the life story of Itri which could strongly identify the social relations underlying the musical productions of the period. This step also should require a survey on musical productions of these centuries supported by parallel researches on areas like history, literature as well. The second step should be consisted of a comparative survey of the theoretical and practical musical sources. The works named as ‘theoretical’ are hand written books called “edvar (cycles)”, whereas the practical works are the compositions attributed to Itri which are written in the musical notations of different periods. Such a comparative survey within the light of the social history will be able to produce the seeds of a study indicating the technical effects of Itri and his “school” to the Ottoman musical tradition. The aim of the current study is to build the initial blocks for such an extensive study, by an analytic survey about the music of the XVII.-XVIII. Centuries by putting the name of Itri in the scope. Such studies will not only help in identifying the musical choices accompanying the period so called the “summit” of the Ottoman musical tradition, but also will possibly to assist to expose the “social causes” affecting these choices.