GELENEKSEL TÜRK SANAT MÜZİĞİNDE MAKAM GEÇKİLERİ
Küçük Resim Yok
Tarih
2018
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Geçmişten günümüze gelen makam ve usul zenginlikleriyle Türk Müziği, dünya müzikleri içerisindeki yerini almıştır. Türk Müziği'nde kullanılan perde dizgesi, makamsal renkliliği daha da arttırmıştır. Bu güne kadar 628 makamın terkip edildiği düşünüldüğünde, geçmişle gelecek arasında sürekli gelişen, zenginleşen bir türden söz etmek yanlış olmaz. Makam zenginliği yanında, 2 den 128 zamanlıya kadar olan usul çeşitliliği de geleneksel Türk sanat müziğine ayrı bir zenginlik katmaktadır. Bir makamın yaşaması ve icracılar tarafından kullanılması için, o makamla ilgili takım bestelenmesi yanında, çok sayıda sözel ve çalgısal eserin bestelenmiş olması gerekir. Besteciler yaklaşık 100 makamda eser bestelemiş olup, yeni terkip edilen makamlar yerine, belirli makamları tercih etmişlerdir. Ancak aynı eser içerisinde, geçki tekniği ile birçok makamı aynı anda kullanmışlardır. Eser dağarı bakımından çok işlenmemiş veya yok denecek kadar az eser bestelenen makamların çoğu, unutulmaya yüz tutmuştur. Makamlar arası geçki geleneğinin icrada önemli yer tuttuğu, geleneksel müzik icracıları tarafından bilinmekte ve uygulanmaktadır. Taksim, na't, kaside, gazel gibi serbest türler yanında, geleneksel Türk sanat müziğinin sözel ve çalgısal türlerinin çoğunda makamlar arası geçki kullanılmıştır. Ancak geçki öğretimi konusuna ilişkin, birkaç kısa metin dışında yazılı kaynakların olmayışı, makalemizin sorun kısmını teşkil etmektedir. Türk Müziği eserlerinin yer aldığı kaynaklar incelendiğinde, konunun ne kadar ihmal edildiği bir kez daha anlaşılmaktadır. Besteciler eserlerinde ezgisel renkliliği arttırarak hünerlerini göstermek için de sıklıkla geçki kullanmışlardır. Bu gelenek, Ahmet Avni Konuk'un 119 makamlı (Fihrist-i Makamat) Rast Kar-Natık'ında olduğu gibi, özellikle kar-ı natık türünde zirveye ulaşmıştır. Geçki konusu besteciler kadar sazendeler arasında da yaygındır. Özellikle taksim formunda sıklıkla geçki kullanılmaktadır. Fasıl aralarındaki ara taksim ve geçki taksimleri, Türk Müziği’nde ayrı bir öneme sahiptir. Saz icracıları taksim, ses icracıları da gazel, kaside, na't gibi serbest icra edilen türlerde geçki kullanarak, hünerlerini göstermişlerdir. Bu gelenek, geçmişe kıyasla az da olsa günümüzde devam etmektedir.
Turkish music has taken its place in the World music thanks to its richness of modal music and the rhythm which came from the past to present day. The pitch system, which has been utilized in Turkish Music has further increased the modal liveliness. Considering the fact that 628 modes have been created in Turkish music, it would not be wrong to discuss about an enriched form, which has constantly been developing between the past and the future. In addition to the abundance of the modes, the variety of tempo styles ranging from 2 to 128 intervals adds a distinctive richness to traditional Turkish music. For a mode to exists and be used by performers, many verbal and instrumental works must be composed, as well as a sequence of compositions. The composers have composed works approximately in 100 modes and have preferred to compose certain modes instead of the recently created ones. In the same work, however; they used the late technique and many of the same authorities at the same time. Most of the modes, which have not been exercised in terms of repertoire, or have been composed scarcely any, has fallen into oblivion. It is known and practiced by traditional musical performers that the tradition of intermodulation takes an important place regarding performance. In addition to spontaneous compositions such as taksim, na't, kaside and gazel, modulation among modes has been used in most of the verbal and instrumental genres of traditional Turkish music. However, the absence of written sources other than a few short texts with regard to the teaching of modulation constitutes the problematic part of our article. When the sources of Turkish music have been examined, it is understood once again that how much that issue has been neglected. Composers have frequently used modulations in their compositions to enhance their melodic liveliness and show their talents as well. That tradition has reached the peak, especially in the form of karı natık as can be seen at Ahmet Avni Konuk’s “Rast Kar-Natık (Fihrist- Makamat)” with 119 different modes in it. The issue of modulation has also been common among composers as well as instrumentalists. Especially in the form of taksim, modulation has been utilized widespread. Improvisations and modulations during the intervals of suites, have the utmost importance in Turkish Music. The instrumentalists have demonstrated their skills by using improvisation by using modulation, while vocalists have demonstrated their abilities by using freely performed genres such as gazel, kaside, na’t by utilizing modulation. This tradition continues today, although it has been less when compared to the past.
Turkish music has taken its place in the World music thanks to its richness of modal music and the rhythm which came from the past to present day. The pitch system, which has been utilized in Turkish Music has further increased the modal liveliness. Considering the fact that 628 modes have been created in Turkish music, it would not be wrong to discuss about an enriched form, which has constantly been developing between the past and the future. In addition to the abundance of the modes, the variety of tempo styles ranging from 2 to 128 intervals adds a distinctive richness to traditional Turkish music. For a mode to exists and be used by performers, many verbal and instrumental works must be composed, as well as a sequence of compositions. The composers have composed works approximately in 100 modes and have preferred to compose certain modes instead of the recently created ones. In the same work, however; they used the late technique and many of the same authorities at the same time. Most of the modes, which have not been exercised in terms of repertoire, or have been composed scarcely any, has fallen into oblivion. It is known and practiced by traditional musical performers that the tradition of intermodulation takes an important place regarding performance. In addition to spontaneous compositions such as taksim, na't, kaside and gazel, modulation among modes has been used in most of the verbal and instrumental genres of traditional Turkish music. However, the absence of written sources other than a few short texts with regard to the teaching of modulation constitutes the problematic part of our article. When the sources of Turkish music have been examined, it is understood once again that how much that issue has been neglected. Composers have frequently used modulations in their compositions to enhance their melodic liveliness and show their talents as well. That tradition has reached the peak, especially in the form of karı natık as can be seen at Ahmet Avni Konuk’s “Rast Kar-Natık (Fihrist- Makamat)” with 119 different modes in it. The issue of modulation has also been common among composers as well as instrumentalists. Especially in the form of taksim, modulation has been utilized widespread. Improvisations and modulations during the intervals of suites, have the utmost importance in Turkish Music. The instrumentalists have demonstrated their skills by using improvisation by using modulation, while vocalists have demonstrated their abilities by using freely performed genres such as gazel, kaside, na’t by utilizing modulation. This tradition continues today, although it has been less when compared to the past.
Açıklama
Anahtar Kelimeler
Kültürel Çalışmalar, Folklor, Müzik
Kaynak
Ege Üniversitesi Devlet Türk Musikisi Konservatuarı Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
1
Sayı
12
