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19. yüzyıl, Türk müziğinde değişimi niteleyen önemli bir dönemin temsilidir. Bu dönemde özellikle İstanbul ve çevresinde gelişen değişimler paralelinde, farklılıklar ortaya koyan Türk müziği; icra edildiği mekânlar, bireysel tutumlar, yeni repertuvar oluşturulması, virtüözite vb. gibi anlayışlarla yenilikler sergilemiştir. 19. yüzyılın bu yeni müzik anlayışları ortamında yetişmiş, İstanbul’un kültürel yapısına zenginlik katan gayrimüslim zümreden gelen önemli bir müzisyende Kemençeci Vasilâkidir (1845-1907). Vasilâki kemençe icrası, besteciliği ve fasıl yöneticiliği ile söz konusu kültürel yapılanmaya önemli katkılarda bulunmuştur. Vasilaki’nin bu katkıyı belgeleyen bilinen önemli eserlerinden biri Kürdilihicazkâr makamındaki peşrevidir. Günümüzde Fasıl programları, Klâsik repertuvarlar olmak üzere birçok konserde sıklıkla seslendirilen bu peşrev, geleneksel peşrev yapısına sahiptir. Fakat birçok farklı çeşitlemesi bilinmektedir. Bu çalışmada yorum farklılıklarını ortaya koymak için eserin tespit edilebilen en eski icrası Tanburi Cemil Bey’e ait olan örnek kaydı temel alınarak notaya aktarılmış ve incelenmiştir. Türk müziğinde yorum ve yorumculuk konularını irdelemek amacıyla ortaya konulan çalışmada ayrıca, diğer yorum örnekleri gösterdikleri çeşitlilik bağlamında; icra edilme biçimleri, zamanları ve mekânları doğrultusunda belirlenmiştir. Yorum örneklerinin ezgisel farklılıkları karşılaştırılıp, yeni yorum biçimlerinin saptandığı çalışmanın sonucunda; icracıların musiki birikimlerinin yanı sıra, çalgılarının özellikleri ve repertuvarları bağlamında yeni yorumlamalar ortaya konulduğu gözlenmekle birlikte, Kürdilihicazkâr makamındaki bu eserin açık bir yapıt özelliği gösterdiği, dolayısıyla süreklilik arz eden yeni yorumlamalara da açık ve uygun olduğu tespit edilmiştir.
The 19th century represents an important period of change in Turkish music. During this period, in parallel with the developing changes in Istanbul and its surroundings, the Turkish music that shows differences; the places in which it is performed, individual attitudes, the creation of a new repertoire, virtuosity, etc. They showed new ideas with understanding. Kemençeci Vasilâk (1845-1907) is an important musician from the non-Muslim community that grew up in the environment of these new music concepts of the 19th century, adding wealth to the cultural structure of Istanbul. Vasilâki has made a significant contribution to the cultural construction, composition and phase management. One of the known important works of Vasilaki documenting this contribution is the pursuit of the Kurdilihicazkar authority. Nowadays, this vocation, which is frequently spoken in many concerts, including the Classical repertoires, has a traditional vocation structure. But many different variations are known. In this study, the oldest executive that can be detected in order to reveal the differences in comments belongs to Mr. Tanburi Cemil on the basis of the sample record transferred to the note and studied. In the work that was revealed in the Turkish music in order to address the topics of comment and interpretation, other examples of comment are also determined in the context of the diversity they show; according to the forms of execution, times and places. Compared the distinctive differences of the examples of comments and the result of the study in which the new forms of comments were identified; in addition to the musical accumulations of the executives, as well as the observation of new interpretations in the context of the characteristics and repertoires of their performances, this work in the Kurdilihicazkâr authority showed a clear work character, and therefore it was found that it was clear and appropriate for the new interpretations that offer continuity.
The 19th century is the representation of an important period that characterizes the change in Turkish music. In this period, Turkish music, which presented differences especially in line with the changes developing in Istanbul and its surroundings, exhibited innovations with understandings such as the places it is performed, individual attitudes, developing new repertoire, virtuosity, etc. Vasilaki (1845-1907), who appears as an important musician from the non-Muslim group that enriched Istanbul’s cultural structure, was raised in the 19th century’s new music understanding atmosphere. He made significant contributions to the said cultural structure with his kemenche performance, composition, and as fasil conductor. One of Vasilaki's well-known works documenting this contribution is his peshrev in the maqam Kürdilihicazkâr. Today Fasil programs, This peshrev, which is often performed in many concerts, including classical repertoires, has a traditional peshrev structure. One of Vasilaki's most renowned works documenting this contribution is his Kurdilihicazkar pesrev. In this study, to reveal the differences in interpretation, the earliest sound recording of the work was examined based on the sample record of Tanburi Cemil Bey. In the study conducted in order to examine the subjects of interpretation in Turkish music, other interpretation examples have also been determined in accordance with the way they were performed, their time and place based on the diversity they present. In the conclusion of the study during which new forms of interpretation were determined after comparing the melody differences of the composition samples, it was observed that, in addition to their musical experience, performers contributed new compositions in the context of the characteristics of their instruments as well as their repertoires. Thus, it has been established that this work in the Kurdilihicazkar maqam is clearly a classic; therefore it is open and suitable for new interpretations.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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