Tanbûri Cemil Bey'in yaylı sazlarda icrâ ettiği taksimlerin tahlîli ve eğitime yönelik etüdlerin oluşturulması
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Dosyalar
Tarih
2022-08-11
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Yayıncı
Necmettin Erbakan Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Tanbûri Cemil Bey Türk mûsikîsinde, bestekârlığı ve usta sâzendeliği ile üslûp, tavır ve ileri icrâ tekniği açılarından belirleyici ve yol gösterici olmuştur. İcrâlarıyla ekol olmuş bir sanatkâr olan Cemil Bey’den sonra bu anlayış, onun yolunu takip eden pek çok icracı tarafından benimsenmiştir. Türk mûsikîsi tarihinde tanbûr icrâsıyla öne çıkan Cemil Bey, bu sazın yanında klâsik kemençe, viyolonsel, yaylı tanbûr ve lavta gibi sazları da ustalıkla icra ederek mûsikî camîâsına kendisini kabul ettirmiştir. Mûsikîmizin bilhassa saz müziği başlığı altındaki formlarında bestelediği eşsiz eserler ile kendinden sonra gelen kuşaklara ilham kaynağı olmuştur. Cemil Bey’in tanbûrdan sonra ustalık derecesinde icrâ ettiği bir diğer yaylı enstrüman klâsik kemençedir. Vasilaki’den etkilenerek kemençe icrâsına başlayan Cemil Bey, tanburda yaptığı seri nağmeleri bu sazda da tatbik etmiştir. Dolayısıyla tanbûr icrasının etkilerini bu sazda da görmek mümkündür. Bununla birlikte Cemil Bey, günümüz tanburunu ilk defa yay ile icrâ etmiş ve yaylı tanbûrdaki icrâlarıyla bu sazın ince saz heyetlerine dahil edilmesi hususunda adeta teşvik edici olmuştur. Viyolonseli de mûsikîmizde ilk kez kullanan Cemil Bey, viyolonsel icrâlarıyla dikkat çekerek bu sazın Türk müziği icrâ heyetlerine girmesine büyük katkıda bulunmuştur. Viyolonsel Türk müziğinde bas dolgunluğunu da sağlamak amacıyla günümüzde Türk müziği icrâ heyetlerinde yaygın olarak kullanılmaktadır. Cemil Bey, taş plakların kullanıldığı dönemde yaşamıştır. Zamanının şöhretli saz icracılarından olması sebebi ile plak şirketlerinin dikkatini çekmiş, günümüze kadar birçok taş plak kaydı ulaşmıştır. Kemençe, yaylı tanbûr ve viyolonselde en eski ses kayıtları Cemil Bey’e aittir. Bu kayıtlar Orfeon Record Plak şirketi tarafından kaydedilmiştir. Cemil Bey’den önce kemençe, yaylı tanbur ve viyolonsel icrâlarına dair kayıtlar bulunmadığından, bu sazların icralarına ilişkin dönemi aktarması bakımından en değerli kaynak öncelikli olarak Tanbûri Cemil Bey olmuştur. Bu tez çalışması; Cemil Bey ile ilgili gerekli literatürün taranması ve mevcut durumun ortaya konulması nedeniyle “betimsel” bir çalışmadır. Çalışmamızın modeli “genel tarama” modelidir. Çalışmamızda Cemil Bey’in hayatı, besteciliği, yayınları, icrâcılığı Cemil Bey hakkında yapılan akademik çalışmalar kaynak taraması yöntemi ile elde edilmiş, Cemil Bey’e ait ses kayıtlarının têmini için TRT Ankara Radyosu Arşiv ve Müzik Dairesi Arşivlerine, Milli Kütüphane Kayıt Arşivine ve Özel Arşivlere ulaşılmıştır. Çalışmamızda, örneklem olarak Cemil Bey’e ait 5 adet kemençe taksimi, 5 adet yaylı tanbûr taksimi ve 5 adet viyolonsel taksimi notaya alınarak taksimlerin teknik, melodik ve nazari açıdan mukayeseli tahlîli yapılmıştır. Elde edilen taksim kayıtlarından hareketle, Cemil Bey’in taksimlerinde kullanmış olduğu yorumlama ve ifade unsurları, icra teknikleri, melodik ve ritmik unsurlar belirlenmiştir. Ayrıca elde edilen verilere göre kemençe, yaylı tanbûr ve viyolonsel eğitiminde kullanılmak üzere farklı makamlarda örnek etüdler oluşturulmuştur. Çalışmamızda Cemil Bey’in; icrâ ettiği diğer sazlara, ilk sazı olan tanburun temel oluşturmakla birlikte yaylı sazların genel icra üslubuna kaynak teşkil edecek önemli katkılarda bulunduğu sonucuna varılmıştır.
Tanbûri Cemil Bey has been a determinant and guide in Turkish music in terms of style, attitude and advanced performance technique with his composition and master instrument. After Cemil Bey, an artist who became a school with his performances, this understanding was adopted by many performers who followed his path. Cemil Bey, who has come to the fore with his tanbûr performance in the history of Turkish music, has also made himself accepted by the musical community by skillfully performing instruments such as classical kemençe, cello, string tanbûr and lute. He has been a source of inspiration for the generations that come after him with the unique works that our music composed especially in the forms under the title of instrumental music. Another stringed instrument that Cemil Bey performed masterfully after the tanbûr is the classical kemençe. Cemil Bey, who started to play the kemenche, influenced by Vasilaki, also practiced the serial tunes he made in the tanbur in this instrument. Therefore, it is possible to see the effects of tanbûr performance in this instrument. However, Cemil Bey performed today's tanbur for the first time with the bow, and with his performances on the string tanbur, he almost encouraged the inclusion of this instrument in the fine instrument ensembles. Cemil Bey, who used the violoncello for the first time in our music, made a great contribution to the entry of this instrument into Turkish music executive committees by drawing attention with his violoncello performances. The cello is widely used in Turkish music executive committees today in order to provide bass fullness in Turkish music. Cemil Bey lived during the period when stone plaques were used. Due to the fact that he was one of the famous saz performers of his time, he attracted the attention of record companies, and many stone records have reached today. The oldest sound recordings in kemençe, string tanbûr and cello belong to Cemil Bey. These recordings were recorded by Orfeon Records. Since there are no records of violin, string tanbur and cello performances before Cemil Bey, Tanburi Cemil Bey was the most valuable source in terms of conveying the period regarding the performances of these instruments. This thesis work; It is a "descriptive" study because of scanning the necessary literature about Cemil Bey and revealing the current situation. The model of our study is the “general screening” model. In our study, academic studies on Cemil Bey's life, composition, publications and performance were obtained by literature review method, and TRT Ankara Radio Archive and Music Department Archives, National Library Recording Archive and Special Archives for the acquisition of Cemil Bey's sound recordings. e has been reached. In our study, 5 kemençe taksims, 5 stringed tanbûr taksims and 5 cello taksims belonging to Cemil Bey were notated and a comparative analysis of the taksims was made in terms of technique, melodic and theory. Based on the taksim records obtained, the interpretation and expression elements, performance techniques, melodic and rhythmic elements that Cemil Bey used in her taksims were determined. In addition, according to the data obtained, exemplary etudes were created in different makams to be used in kemençe, string tanbûr and cello education. In our study, Mr. Cemil; It has been concluded that the tanbur, which is his first instrument, formed the basis of other instruments he performed, and he made important contributions to the general performance style of string instruments.
Tanbûri Cemil Bey has been a determinant and guide in Turkish music in terms of style, attitude and advanced performance technique with his composition and master instrument. After Cemil Bey, an artist who became a school with his performances, this understanding was adopted by many performers who followed his path. Cemil Bey, who has come to the fore with his tanbûr performance in the history of Turkish music, has also made himself accepted by the musical community by skillfully performing instruments such as classical kemençe, cello, string tanbûr and lute. He has been a source of inspiration for the generations that come after him with the unique works that our music composed especially in the forms under the title of instrumental music. Another stringed instrument that Cemil Bey performed masterfully after the tanbûr is the classical kemençe. Cemil Bey, who started to play the kemenche, influenced by Vasilaki, also practiced the serial tunes he made in the tanbur in this instrument. Therefore, it is possible to see the effects of tanbûr performance in this instrument. However, Cemil Bey performed today's tanbur for the first time with the bow, and with his performances on the string tanbur, he almost encouraged the inclusion of this instrument in the fine instrument ensembles. Cemil Bey, who used the violoncello for the first time in our music, made a great contribution to the entry of this instrument into Turkish music executive committees by drawing attention with his violoncello performances. The cello is widely used in Turkish music executive committees today in order to provide bass fullness in Turkish music. Cemil Bey lived during the period when stone plaques were used. Due to the fact that he was one of the famous saz performers of his time, he attracted the attention of record companies, and many stone records have reached today. The oldest sound recordings in kemençe, string tanbûr and cello belong to Cemil Bey. These recordings were recorded by Orfeon Records. Since there are no records of violin, string tanbur and cello performances before Cemil Bey, Tanburi Cemil Bey was the most valuable source in terms of conveying the period regarding the performances of these instruments. This thesis work; It is a "descriptive" study because of scanning the necessary literature about Cemil Bey and revealing the current situation. The model of our study is the “general screening” model. In our study, academic studies on Cemil Bey's life, composition, publications and performance were obtained by literature review method, and TRT Ankara Radio Archive and Music Department Archives, National Library Recording Archive and Special Archives for the acquisition of Cemil Bey's sound recordings. e has been reached. In our study, 5 kemençe taksims, 5 stringed tanbûr taksims and 5 cello taksims belonging to Cemil Bey were notated and a comparative analysis of the taksims was made in terms of technique, melodic and theory. Based on the taksim records obtained, the interpretation and expression elements, performance techniques, melodic and rhythmic elements that Cemil Bey used in her taksims were determined. In addition, according to the data obtained, exemplary etudes were created in different makams to be used in kemençe, string tanbûr and cello education. In our study, Mr. Cemil; It has been concluded that the tanbur, which is his first instrument, formed the basis of other instruments he performed, and he made important contributions to the general performance style of string instruments.
Açıklama
Doktora Tezi
Anahtar Kelimeler
Tanbûri Cemil Bey, Klâsik Kemençe, Viyolonsel, Yaylı Tanbûr, Türk Müziği, Tahlîl, Mukâyese, Tanburi Cemil Bey, Classical Kemence, Cello, String Tanbur, Turkish Music, Analysis, Comparison
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Çetik, Ö. (2022). Tanbûri Cemil Bey'in yaylı sazlarda icrâ ettiği taksimlerin tahlîli ve eğitime yönelik etüdlerin oluşturulması. (Yayımlanmamış doktora tezi). Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü Türk Müziği Anabilim Dalı, Konya.
