Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17873
Title: 3. Selim'in Türk Musikisi Hakkındaki Görüşleri Ve Terkib Etmiş Olduğu Makamlar
Authors: Kutluğ, Fikret
Gençoğlu, Sabri Enis
43795
Türk Müziği
Turkish Music
Keywords: Güzel Sanatlar
Müzik
Makamlar
Selim III
Türk müziği
Fine Arts
Music
Modes
Selim III
Turkish music
Issue Date: 1994
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Osmanlı imparatorluğu'nun tarihine bakıldığı zaman, imparatorluğu yöne ten padişahların çoğunun aynı zamanda şair, yazar, hattat ve müzisyen oldukları görülür. Padişahları bu yönleri ile ele aldığımız zaman III. Sultan Selim Han şairliğinin ve hattatlığının yanında döneminin büyük ve kudretli bir bestekârını olarak karşımıza çıkar. III. Sultan Selim Han sanat'a özellikle musikiye önem veren çevresindekile ri de icracı ve bestekâr olarak musikiye teşvik eden ve koruyan bir padişahtı. İleri görüşlülüğü ve yeni arayışlar içinde heves ve gayret göstermesi, onun kendinden sonra gelenlere ilham kaynağı olmasına yol açmış, Klâsik Türk Müziği'ne yeni bir anlayış getirmiştir. Klasik Türk musikisinde önemli bir yeri olan III. Sultan Selim Han'ın yeniden hayata geçirdiğie bazı makamlar ile kendisinin terkib ettiği makamlar, döneminde yeni ilerlemelere vesile olmuş sanatçı ruhu, yakınında bulunanları etkilemiş, musikimiz koyu klasik üsluptan nicaz kurtularak, yeni bir üslup devresine girmiştir. Yenilikler gösteren III. Sultan Selim Han dönemini, bu görüş açısı içinde incelemeye ve musikimizde yeni bir dönemin anlam ve uygulamalarını açıklamaya çalıştık.
When we studied the history of the Ottoman Empire ve notice that most of the Sultans who reigned the Empire were ther poets, writers, colligraphers on musicians. Examining the Sultans in this connection, we come across with Selim 3rd as a musician and a Sultan. Selim 3rd was aperson who gave great importance to art and music and qho encourraged the people around to learn or perform music. His ability to foresee the future and openmindidness as well as his continuons seeking for new possibilities ensured him to be agood example for the ones who came after him. In our modest research, we studied the life of Selim 3rd who has an important role in Turkish music and the we tried to express and explain his mentality and the new look which he had brought to Turkish music, also the scales that had been added on to Turkish music by him with some semples which will give an idea about his understanding of music hoping to be able to enlighten the coming generations. Sultan Selim Kahn, III was born in December 24, 1761, Istanbul. He is 3.1. Sultan of Ottoman Empire and 20. caliph. His father is Mustafa III and his mother is Mihrisah Sultan, a Georgian. Mustafa III, had believed in that his son Would be a very select sultan, even a world conqueror. Following the death of Abdulhamid I, becoming a heir to throne, he ascended the throne under the title of Selim III on 28 March 1789 when he was 28 years old. Mustafa III, the father of Selim III, was also writing poems under the pseudonym İkbali. As in many other subjects, Selim III has followed his father in respect with poems, as well. He has collected his poems writte under the pseudonym of İlhamı" in a Divan. O poet's collected poems arranged alphaphetically) in this Divan, consisting of nearly 200 pages, there have been poems reflecting 3. Selim's frank feelings on several subjects. In spite of the fact that Nedim's influence has been seen on his poems written under the pseudonym Ilhami, he has from time to time reached his own personality and offered strong poems. The art of calligraphy has reached its peak form by Turkish artisans during the era of Selim III. One of those artisans is Selim III. Many of the sultans of Ottoman Empire are such important person as to be considered master in the arts of Literature, music, calligraphy. Since they may deem favourable in their periods many of them hae written poems, giving samples in various forms of classical Turkish poetry, specially. Lyric poems comprising of 5-15 couplets and quatrains. Unlike the other Sultans, Sultan Selim Khan, III who has imprinted his name as musician, composer with golden letters in Turkish history, has devoted himself to music and he has primarily engaged in music during his 1 6 yearlong life in cage until he has been Sultan of Ottoman following the death of his father. The number of works we can determine from the sources belonging to Selim III is 62. 21 of these works are instrumental music while the others are all oral works. His same hymns of certain tessitureas, have been lost. Because of the fact that they represent certain understanding, attitude and style in our classical art music, inspired by those musicians who have separate place in our classical music, he has combined the musical understanding of both his era and preceding period along with several innovation but without deforming the classical music attitude and style. To describe briefly the musical characteristice of our classical music till the Selim III, in such works there have been many adjacent, regular two intervals. There has been no sharp Jumping to upper and lower thresholds in sounds continuing in regular manner. Except for the movements required in the tessituras used, there has been no jumping sounds and interrupted melodies. The works consist of different musical sentences following and completing one another in a simple manner. Within this simplicity, our composers have reached a precision in describing their feelings and tho ughts. Used tessituras have been embroided with melodic structures. In oral works, prosody has been used. In his own works of Selim III. we see the same factors as we stated previously. Adorned with fluent, dynamic, enthusiastic, different passages, the works of Selim III give a thought in ability of composition. When we scturinize his works, note patterns consisting of melodic and a rytmic structure have been frequently used. We can say this is a specific style of Selim III. In musical verses he used, he applied a composition method based on the fact certain patterns are repeated in certain places, but not based on chain of different melodies following one another. This method ensured that his works are unforgottable and enjoyable. Althought in some works, passages take place over the strong sections of main starting tone, temporary standings made over its partition is a new application. In great form of works, style passages can be considered as another aspect of his composition. The fact that Selim III has a lot of his orks composed by Abdulbaki Nasır Dede and Hampanum Limanciyan is a significant source for today. Acquiring a new understanding and being strong along with the era of Selim III, the Turkish Music has been sligthly influenced by westernization movements and western music untering the Seraglio. If our music had not past through the era of Selim III, the western music would have influenced it even much. To consider this period with another aspect, many composer and musicians have grown up in this period. In short, the era of Selim III had shined over the Turkish Music like a sun and has been enriched with new understandings and new tones without leaving the main source and classical style. Serving as a strong bridge between his sucessors and predecessors, Selim III ensured that our Turkish music reached today without losing its original, and being propressively stronger and keeping at the same value and beauty. - v - The instrumental semais of III.Selim The compositions of II. Selim lists music are as under: 24. Suz-i Dilara 1. Beste Usulü: Darbeyn "Keman-i aşkını çekmek o şuhun hayli müşkilmiş" 25. Suz-i Dilara 2.Beste Usulü: Hafif "Çin-i gisusuna zencir-i teselsül dediler, zaik" 26. Suz-i Dilara Ağırsemai Usulü: Aksaksemai "A gönül cur'amıyız kar-ı penah eyliyelim" 27. Suz-i Dilara Nakış Yürüksemai "Ab-ü tab ile şeb, haneme canan geliyor" 28. Suz-i Dilara Şarkı "Nihal-i kaametin bir gül fidandır" 29. Suz-i Dilara Şarkı "Gülşende yine meclis-i rindane donansın" 30. Şevk-u Tarab Kar Usulü: Ağır Hafif "Siphir-i sinem dağ-i muhabbet kevkübet" Usulü: Yürüksemai Usulü: Aksak Usulü: Curcuna vı Usulü: Aksak Usulü: Ağır Aksaksemai Usulü: Devr-i Revan 31. Şevk-u Tarab 1. Beste Usulü: Zencir "Perşem-i gül puuşunun yadıyle feryat eylerim" 32. Şevk-u Tarab Ağırsemai Usulü: Aksaksemai "Lal-i can bahsini sun bezmde ey şu emelim" 33. Şevk-u Tarab Yürük Semai Usulü: Yürüksemai "Gönlüm yine bir gonca-nazik tene düştü" 34. Şevk-u Tarab Şarkı "Kapıldımbir nev-civane" 35. Mahur Beste "Teşrif-i kudümün gözetir şevk ile canım" 36. Mahur Şarkı "Sen şeh-i hüsn-i bahasın" 37. Mahur Şarkı "Gel açılg onca denen zevk edecek günlerdir" 38. Mahur Şarkı Usulü: Düyek "Ne ararsam sende mevcut" 39. Pesendide 1. Beste Usulü: Çenber "Her neden sakıy elinden sagar-ı işaret gelir" 40. Pesendide Ağırsemai Usulü: Aksaksemai "Ziver-i sine edip ruhi revanim diyerek" 41. Pesendide Yürük Semai Usulü: Yürüksemai "Yine gönül safaya mecbur ne esir-i dil rubadır" 42. Muhayyer Sünbüle Ağırsemai Usulü: Aksaksemai "Dem o demlerdiki edip heman ülfet beni" 43. Muhayyer Sünbüle Şarkı "Bir yosma şuh-i dil ruba" 44. Muhayyer Sünbüle Şarkı "Ey gonca-i nazik tenim" 45. Zavil 2. Beste "O gülden nazik endamam dayanmaz nalevu aha" 46. Zavil Yürük Semai Usulü: Yürüksemai "Olmuş nişan-ı tir-i muhabbet civan iken" 47. Hüzzam Şarkı "Gönül verdim sir civane" 48. Hüzzam Köçekçe "Bir gonca-i nevres fidan" 49. Büzürk 2. Beste "Aşkınla havalandım biganeliğim gel gör" 50. Evcara 2. Beste "Mevc-i atlas-ı felekte ben havadan geçtim" 51. Rast-ı Cedid 2. Beste Usulü: Hafif "Çeksem o şuhu sineye hülyalarım gibi" Usulü: Ağır Düyek Usulü: Düyek Usulü: Muhammes Usulü: Yürük Aksak Usulü: Yürük Aksak Usulü: Hafif Usulü: Muhammes vıı - 52. Acemaşiran Şarkı Usulü: Yürük Aksak "Dinle sözüm ey dil ruba" 53. Arazbar Şarkı Usulü: Ağır Aksaksemai "Oldu gönül sana mail" 54. Buselik Şarkı Usulü: Yürük Aksak "Bir pürcefa hoş dilberdir" 55. Neva Buselik Şarkı Usulü: Düyek "Çünki ey şuh-i fedayi" 56. Nihavend-i Kebir Şarkı Usulü: Ağır Aksaksemai "Gel azm edelim bu gece Göksu'ya beraber" 57. Nihavend Şarkı Usulü: Ağır Aksak "Olmasın mı mübtelası serseri" 58. Saba Şarkı Usulü: Düyek "Bir dii üftade ol kakül-i yare" 59. Şehnaz Şarkı Usulü: Aksak "Bir nev civana dil mübteladır" 60. Şehnaz Buselik Şarkı Usulü: Aksak "Bugün bi-aman gördüm" 61. Şevkefsa Şarkı Usulü: Aksak "Ey serv-i gülizar-ı vefa" 62. Tahir Buselik Şarkı Usulü: Şarkı "Güzel gel meclise tenha
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1994
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1994
URI: http://hdl.handle.net/11527/17873
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

Files in This Item:
File Description SizeFormat 
43795.pdf5.65 MBAdobe PDFView/Open


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.