Musical Description İn Alâeddin Yavaşca's Compositions Example Of "Kürdilihicazkâr Etude"

15. Uluslararası Dil, Edebiyat ve Kültür Araştırmaları Kongresi, İstanbul, Turkey, 21 - 23 May 2022, pp.172-180, (Full Text)

Publication Type: Conference Paper / Full Text
City: İstanbul
Country: Turkey
Page Numbers: pp.172-180
Ankara Yıldırım Beyazıt University Affiliated: Yes

In 20-21st century Turkish music, Alaeddin Yavaşca, who is one of the most competent names in both the academic field and the fields of composition and interpretation, who has made significant contributions and has signed his signature as the "transmitter of tradition" in the history of music; During his lifetime, he contributed a total of 654 compositions to the TRT repertoire, including 593 oral works in various forms and 61 instrumental works. It is known that the mesk chain he is involved in reaches until the 18th century, and this situation includes Yavaşca among the 21st century representatives of the Ottoman/Turkish music tradition. In addition to Yavaşca's mastery of conveying the lyric-composition relationship, it is seen that he uses the "subjective depiction" method without using words in some of his compositions. Seven of the composer's 61 instrumental works are specifically named, and each of these works was composed within the framework of "musical approval". The Kürdilihicazkâr Etüd "Nazlanış" instrumental work is one of the works of approval. In this study, the concepts of depiction and transmission in music were emphasized, the examples of musical approval from the 17th-18th century to the present day were traced and Yavaşca's connection with the mesk chain he was involved in was mentioned. With the analysis of Nazlanış saz work in terms of approval, the musical nuclei reflecting the composer's emotional world were examined. In addition, the mode of transmission of the main theme of the work and the way in which the melodic structures were transformed into stories were determined. In this context, the relationship between Yavaşca's musical understanding and expression methods was tried to be analyzed. Conducting similar studies can deepen the issues of expression and depiction in music, as well as give different perspectives to performers, composers and listeners.

20-21. yüzyıl Türk müziğinde gerek akademik alanda gerek bestecilik-yorumculuk alanlarında en yetkin isimlerden olup önemli katkılar sağlayan ve müzik tarihine de “geleneğin aktarıcısı” olarak imza atan Alâeddin Yavaşca; yaşamı boyunca TRT repertuvarına çeşitli formlarda 592 sözlü eser, 61 saz eseri olmak üzere toplam 653 beste kazandırmıştır. Dahil olduğu meşk zincirinin 18. yüzyıla kadar ulaştığı bilinmektedir ve bu durum Yavaşca’yı Osmanlı/Türk müziği geleneğinin de 21. yüzyıl temsilcileri arasına dahil etmektedir. Yavaşca’nın güfte-beste ilişkisindeki aktarım ustalığına ek olarak bazı bestelerinde söz kullanmadan “sübjektif tasvir” yöntemi kullandığı görülmektedir. Bestekârın 61 saz eserinden yedisi özellikle isimlendirilmiştir ve bu eserlerin her biri “mûsikî tasvîri” çerçevesinde bestelenmiştir. Kürdilihicazkâr Etüd “Nazlanış” saz eseri de tasvîri nitelikte olan eserlerden biridir. Bu çalışmada müzikte tasvir ve aktarım kavramları üzerinde durularak, 17-18. yüzyıldan günümüze kadarki mûsikî tasvîri örneklerinin izleri sürülmüş ve Yavaşca’nın dahil olduğu meşk zinciri ile olan bağına değinilmiştir. Nazlanış saz eserinin tasvîri açıdan analizi ile de bestekârın duygu dünyasını yansıttığı müzikal nüveler irdelenmiştir. Ayrıca eserin ana temasının aktarım biçimi ve melodik yapıların hangi şekilde hikâyeye dönüştürüldüğü tespit edilmiştir. Bu bağlamda Yavaşca’nın müzikal anlayışı ile ifade yöntemleri arasındaki ilişki çözümlenmeye çalışılmıştır. Benzer çalışmaların müzikte ifade ve tasvir konularını derinleştirmesinin yanı sıra icracı, bestekâr ve dinleyicilere de farklı perspektifler kazandırabileceği düşünülmektedir.