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203
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Müzik bir iletişim aracı olarak ele alınıp incelendiğinde tarihteki toplumsal değişikliklerin müzikle dışa vurulduğu görülmektedir. Bu çalışmada Türk sanat müziğinin dönemsel değişimleri ile Türkiye’deki toplumsal değişimler arasındaki etkileşimi incelemek amaçlanmıştır. Tüm sanat dallarında olduğu gibi müzik de toplumsal değişimlerin etkisinde kalmış, bu değişimlerle birlikte gelen hayat şartlarıyla biçimlenmiş ve insan ilişkileriyle birlikte değişikliğe uğramıştır. Amerikan kültürünün pompalandığı 1950’li yıllar, Alaturka ile alafranganın rekabetinin çatışmaya başladığı zamanlar olarak kendisini gösterir. Sözleri akılda kalıcı, basit formlu şarkılar bu dönemde üretilmeye başlamıştır. Adına daha sonra “Türk Sanat Müziği” denilen bu yeni tür kısa zamanda hâkim hale gelir. Klasik Türk Müziği ile Türk Sanat Müziği şeklinde beliren ayrım, 1950’lerde belirginleşir. Türk halk ve sanat müziğine ilginin artması, eğlence dünyasında yeni seslerin ortaya çıkmasına, var olanların da öneminin artmasına neden olmuştur. Radyo ve gazinoda alaturkaya rağbet artınca, sesin kral ve kraliçeleri yaratılmıştır. Hamiyet Yüceses, Sabite Tur Gülerman, Perihan Sözeri ve Mualla Mukadder Atakan dönemin ünlüleri olup, büstleri yapılmıştır. 1951 yılında Zeki Müren ilk canlı radyo konserini verir ve çok sevilir. 1950’lerde gelişen eğlence müziğinin ilk ismi olan Zeki Müren (1931-1996), müzikal üslubu, besteleri, sahneye getirdiği yeniliklerle ve sahne kostümleriyle bir pop ikonu haline dönüşmüştür. Bu nedenle popüler bir şarkıcı olan Zeki Müren ve ona ait şarkılar seçilmiştir. Çalışmada Zeki Müren’in beste ve güftesi kendisine ait on beş eseri üzerinde, içerik analizi yöntemi kullanılarak bazı verilere ulaşılmaya çalışılmıştır. Bu yöntemle eserlerin usulleri, makamları, vezinler, sözcüklerin kullanım sıklığı, sözcük kategorileri ve toplam sözcük sayısı belirlenmiştir. 431 sözcükten oluşan eserlerin tamamı, anlaşılırlığı yüksek olan hece vezni ile yazılmıştır. Usullerine göre incelendiğinde ise eserlerin Düyek ve Semai gibi basit usullerle yazıldığı görülmüştür. Türk müziğinin karakterini oluşturan en önemli yapı taşlarından biri olan “makam”, eserlerin özelliğini, hatta kimliğini belirlemektedir. Zeki Müren eserlerinin makamlarına göre dağılımı incelendiğinde, Muhayyerkürdî ve Nihavend makamlarının, diğer makamlardan önde olduğu dikkat çekmektedir. Sonuç olarak; Zeki Müren şarkıları “müziksel ve sözel yapı” başlıkları altında incelendiğinde, dinleyici kitlesinin sevdiği usul, makam ve sözcük kategorilerine öncelik verildiği gözlemlenmiştir. Zeki Müren’in besteleri üzerinde çeşitli karşılaştırmalara konu olan bulgularla birlikte, sözleri Zeki Müren’e ait olan şiirlerdeki sözcüklerin kullanım sıklığından, Zeki Müren’in sözcük dağarcığı da sayısal olarak ortaya çıkarılmıştır. Türkiye’de popüler kültür yükselirken Türk sanat müziği de halka ulaşmada popüler bir çizgiye girmiştir.
When music is considered and studied as a means of communication, it appears that social changes in history are shut out by music. This study aims to explore the interaction between periodic changes in Turkish art music and social changes in Turkey. Like in all the art branches, music has remained under the influence of social changes, has been shaped with the living conditions that come with these changes and has changed with human relationships. The 1950s, when American culture was pumped, showed itself as the times when the competition between Alaturka and the alafrangan began to conflict. The words in the mind of permanent, simple form songs have begun to be produced in this period. This new genre, later called "Turkish Art Music", soon becomes the ruler. The distinction between classical Turkish music and Turkish art music appears in the 1950s. The increased interest in Turkish people and art music has led to the emergence of new sounds in the entertainment world, and the importance of the existing has increased. In the radio and the casino, despite allaturkaya increased, the voice of the king and the queens were created. He is the one who gives righteousness, the one who gives righteousness, the one who gives righteousness, the one who gives righteousness, the one who gives righteousness, the one who gives righteousness, the one who gives righteousness, and the one who gives righteousness. In 1951, Zeki Müren gave his first live radio concert and was very loved. The first name of entertainment music that developed in the 1950s, Zeki Müren (1931-1996), has become a pop icon with its musical style, compositions, innovations and stage costumes. That’s why a popular singer, Zeki Müren and his songs have been chosen. In the study, the composition and spell of Zeki Müren on his fifth works, using the method of content analysis, was attempted to obtain some data. This method determines the procedures of works, authorities, vocations, frequency of use of words, category of words and total number of words. All of the works consisting of 431 words are written with a high-comprehensibility hece vesni. When it is examined, it is seen that the works are written in simple methods such as Düyek and Semai. One of the most important structural stones that make up the character of Turkish music, the "Article" determines the characteristics of the works, and even the identity of them. When the distribution of their works according to the authorities is examined, the authorities of Muhayyerkurdi and Nihavend appear to be the top of the other authorities. As a result; when the Smart Muren songs are studied under the titles of "musical and verbal structure", it has been observed that the audience has preferred the procedure, office and word categories. In addition to the findings that are subject to various comparisons on the compositions of Smart Müren, the use of the words in the poems that belong to the words of Smart Müren has been revealed numerically, and the word distribution of Smart Müren has also been revealed. While popular culture is rising in Turkey, Turkish art music has also entered a popular line in reaching the public.
When music is analyzed as a means of communication, it can be seen that the historical social changes are expressed through music. This study aims to examine the interaction between periodical change in Turkish Classical Music and the changes in Turkish society. As in all art branches, music has been influenced by changes in society, and has took a form with life conditions arriving with these changes and undergone a change with human relations. 1950s, pumped by American culture, show themselves as the times when competition between Turkish Style and European Style began to clash. Songs with catchy lyrics and simple form have been created in this period. This new genre, which is called as Turkish Classical Music later, has become dominant in a short time. The difference as Classical Turkish Music and Turkish Classical Music has become evident during 1950s. Increasing interest in Turkish folk and classical music has caused new voices arise in entertainment world and increased the importance of the ones existing. When demand increased for Turkish Style in radio and club, kings and queens of voice have been created. Hamiyet Yüceses, Sabite Tur Gülerman, Perihan Sözeri and Mualla Mukadder Atakan are famous singers of the period and their busts have been made. In 1951, Zeki Müren gave his first live radio concert and was loved very much. Zeki Müren (1931-1996) was the first name for entertainment music which has developed during 1950s and has become a pop icon with his musical style, compositions, innovations he brought to the stage and his stage costumes. Because of all these facts, Zeki Müren, a popular artist and his songs were chosen. This work aims to obtain certain data from 15 of Zeki Müren’s works, all versed and composed by him. Using content-analysis method, usul, makam, rhyme schemes, usage frequency and categories of words, and also, total word count is determined. Consisting a total of 431 words, all works were written in syllabic meter. When categorized in terms of usul, it can be seen that the works were composed using simple tempo schemes such as Düyek or Semai. In Turkish classical music, makam, certain melodic formulae, is the most identifying building block, even the main determinant of the music work. When examined the prevalence of makam in Zeki Müren’s works, it can be noted that Muhayyerkürdî and Nihavend tunes are more preferred by him. Summarily, Zeki Müren songs are examined under the titles of “musical structure” and “lyrical structure”, and pursuant to this, the most favorite usul, makam, and word categories of his audience have been determined. Along with certain findings on his music asserted from various comparisons, Zeki Müren’s verbal repertoire has been revealed by analyzing the word frequency of the lyrics of Zeki Müren. As the popular culture was rising in the Turkey, Turkish Classical Musical was also transformed into a more “popular” style.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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