Bektaşi Nefesleri Üzerinde İncelemeler

Abstract

Bektaşi Nefesleri Üzerinde incelemeler isimli bu çalışma, tabii ve tarihi zenginliğinin yanı sıra sosyal ve aktüel bir yapıya sahip Bektaşi Musikisini bütün yönleriyle ve bilimsel yöntemlerle ortaya koyarak incelenmesini amaçlamaktadır. Bu çalışmada Türkiye'deki Alevilik-Bektaşilik hakkında (Benzerlik ve farklılıklar) bilgi verilmektedir. Böylece Alevilik-Bektaşilik ananesinin daha yakından tanınmasına imkan sağlanacaktır. II. bölümde, geleneksel Türk Musikisinin önemli türlerinden olan Bektaşi Musikisi bütün yönleriyle bilimsel yöntemlerle ortaya konulup tanıtılmaya çalışılmıştır. Samanların menşei ve Nefeslerle olan farkları (ritmik-melodik-edebi) kullanılan çalgı grupları, özellikle Alevi Bektaşi hayatında Nefir'in yeri ve önemi izah edilmektedir. III. Bölümde ise çalışmanın özünü teşkil eden Bektaşi Nefeslerinin müzikal (Dizi, Makam ve Edebi) incelemeleri yapılarak Nefeslerin o muhteşen edebi yapısı tesbit edilmiştir. Bu nedenle Nefeslerin güftesi başlı başına bir araştırma konusudur. Ayrıca bu inceleme Bektaşi Nefeslerinin diğer tarikat musikileri arasındaki yerini belirleyecektir. Bu bölümde incelemeler sonucunda Nefeslerin güftelerini milli vezin olan hece vezni ile yazılmış olduğunu ayrıca Türk musikisi usul ve makamlarının pek çoğuna rastlamış olmamız önem arzetmektedir. Çünkü yararlandığımız kaynaklar Bektaşi tarikatının Anadolu'daki diğer tarikatlara nazaran daha çok Türk hasrını benimsediği konusunda birleşmektedirler. Nefeslerin çoğunun basit makamlarımızdan Rast, Uşşak, Hüseyni ve Hicaz makamında yoğunlaştığı görülmektedir. Fakat Türk Musikisinde yok denecek kadar az kullanılan Eviç Huzi makamında bestelenmiş altı Nefes çalışmamıza alınarak incelenmiştir. Sonuç ve öneriler kısmında ise Bektaşiliğin ve Bektaşi Musikisinin daha iyi anlaşılması, doğru bilinmesi Bektaşiliğin Türk Kültür tarihindeki yeri ve öneminin belirlenmesi açısından bu tarz çalışmaların gerekliliği anlatılarak araltırmacılann dikkatlerinin bu yöne çekilmesine çalışılmıştır. Ek l'de Bektaşi Nefeslerinin güftelerini yazan şairlerin kısa hayat hikayelerinden oluşmaktadır. Ek 2'de İncelenen Nefeslerin Eser Adı, Dizinin THM deki Karşılığı, Makamı, Durağı, Güçlüsü, Donanım ve Usul sayılarını gösteren bir inceleme taplosu ortaya konulmuştur

These study, which was prepared under the title of "Studies About Bektashi Nefes", consists of the Bektashi Religious order and their Nefes which has been coming from almost as far back as the I3th century to our modern life and apart from it's historical riches on the Turkish Sufism it has a social and contemporary structure. This study aims to bring into light the Bektashi Nefes without any prejudices, which are öne of the most important religious forms of Turkish Music. This study, contains information (similarîties-differences) about Alavvism - Bektashism and it also aims to make them known and understood better. Also in the light of our written sources it has been determined that Alawism - Bektashism is special for Turkey. For this reason, the position and importance of Alawism - Bektashism-on Turkey has been outlined in our study: in the third section, general Alawi - Bektashi music that presents quite an importance to the traditional Turkish Music's religional forms, has been explained. On this note, especially the origins of the Semahs and differences from the Nefes (rhythmic-melodic-literary), used instruments; place and importance of a wind instrument, called Nefir in Alawi - Bektashi social life is being explained. More över, on this section, methods used on the Nefes with their degrees (with its rhythmic pattern and fights) have been explained. From these methods, 13 rhythm Bektashi Devr-i Revanı and 15 times Bektashi Raksanı methods have been explained in great detail. As indicated at the second chapter Anatolian Alavvism, as a historical event, goes for to the first meeting of Turks with islam, it is a combination of political, historical, geographical, social, economical, and cultural Islamic believes and culture. Anatolian Alawism is not profting from an oppressed and rebellion literatüre, as claimed by some bad tempered people. it is a subject of multisieded believe and Kültür in Turkish religious history waiting to be enlightened. it is a very coloured and rich inheritance of our ancestor. in chapter 2, we also indicated that, a part of the society called Alawies in the world Lowe's Ali at the degree of exaggeration. Those are called Galiye, Müeüihe and Ali Allahiye. But these types of Alawi are not present in Turkey. We have explained that, Anatolian Alawism is not only mysterious believes but also a mixture of old Turkish traditions and folks beside Vahdeti Vucud, represented in the history by Hünkar Hacı Bektaş Veli, Hodcha Ahmet Yesevi, Kalenderi, Hayderi and Ahilik. İn the view of these information, we said that, Anatolian Alavvism was a Müslim society wining with Turkish tradition, Turkish folk poetry and Turkish folk instrument. Under the title of Bektashi Music, we investigated the origins of Bektashi traditions and indicated the relation betvveen Bektashi Music and other tarikat Music's. it was composed of püre optimism, merriment, love of God and low of Ehli-Beyt. If Nefes are accompanied by an instrument, these instruments are used: 1. Ney 2. Tanbur X 3. Ud 4. Kanun ör Mazadar 5. Kudüm 6. At Bektashi villages, Bağlama, Çöğür, Bozuk, Cura and Tambura On the fourth section; as making musical (line-rhythm-literally) investigation of Bektashi Nefes which presents the essence of the study; place and importance of the Nefes betvveen Turkish Regional Music Forms have being able to determined. These investigations are important to make Bektashi; Nefes known, widespread and for the aspect of receiving admiration by the society. Apart from its strong literally structure, texts of the Nefes teli the Bektashi Order's fiındamental and history. For this reason, texts of the Nefes are been subject of a separate scientific study. On this study the place of the Bektashi music among ali other orders' music will be underlined. This section consist of four parts and they can be arranged as follows: Text and musical note of Nefes from its used source Study of line Study of Nefes Study of text XI At, the end of these studies, we explained that text of the breath have written with syllable meter which is national meter and these meters have written by important personalities from Turkish literature. Especially, 6+5 paused with 11 syllable meter has used for them. Apart from this, examples which are 7, 8, 9, 10, 13, even until 16 paused can be found. It is important that we have found most of Turkish melodic creations and methods on Nefes. We have reached a common point from the written sources that Bektashi Order has used Turkish poems more than other orders in Anatolian. Most of the examples of Nefes which we were reached are created mostly with Rast, Uşşak; Hüseyni, and Hicaz which can be seen as our easy music, forms. In addition to this, six Nefes written with a rarely found music form in Turkish Music called Eviç Huzi have taken to our study and investigated. When making investigation of musical forms of Nefes, investigation has made with taking in to account of all musical forms' special features for their selves and these features have written with articles on the section called "investigations of lines". Moreover, in this section, some information's take place related with studied Nefes. These were represented in an order as pause, behaving, method, rhythmic pattern, it's approximately equivalent in Turkish Folk Music, formation, strong one, rigging of lines, voice area of breath etc. of lines which forms the Breath's music forms. Fifth section consist of short life stories of important poets such as Fuzuli, Yunus Emre, Pir Sultan Abdal, Kul Himmet, Şair Dertli, Kaygusuz Abdal etc. who are poets of Bektashi Nefes This, literally power and personalities of these poets will be able to known greatly. On the consequence and proposal section, an analysis table as classified and brought in to light which shows the name of work, music form, line's approximately equivalent in Turkish Folk Music, pause, strong one, rigging, number of methods and method names in the Turkish Folk music of 166 Nefes as explained from Bektashi Nefes and studied. Thus, anybodies who will investigate this study, will able to find the important features of Nefes completely. In additions to this, as telling essence of this kind of studies, it was tried to take in to account of investigators to this aspect to be understood and known well of Bektashi culture and music, to determine the place and importance of Bektashi culture among Turkish Culture History. At the conclusion, we invited the investigators to be independent of prejudice at their studies Alawism