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Title: Neyzen Emin (dede) Efendi Hayatı San'atı Eserleri Ve Musikimizdeki Etkileri
Other Titles: Neyzen Emin(dede) Efendi His Life, Art, Works And Influences In The Music
Authors: Yavaşça, Alaeddin
Çeviksever, Bülend
Türk Müziği
Turkish Music
Keywords: Güzel Sanatlar
Türk sanat müziği
Mehmet Emin Yazıcı
Fine Arts
Turkish art music
Mehmet Emin Yazıcı
Issue Date: 1995
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Neyzen Emin ( Dede) Efendi'nin Hayatı, San'atı, Eserleri ve Mûsıkîmizdcki Etkileri Bülend ÇEVİKSEVER ÖZET: Bu çalışmada Neyzen Emin (Dede) Efendi hakkında detaylı bir araştırma yapılarak, henüz yarım yüzyıl önce yaşamdan ayrılmış olmasına rağmen ne yazıkki hakkında birkaç sayfalık ansiklopedik bilgi ve birkaç müzik eserinden başka bir şey bilinmeyen bu san' at dehasının Ahmet Hamdi Tanpınar'ın dediği gibi; bütün mazi hazinelerinin son bekçisi Neyzen, Hattat ve Bestekâr olan san'atçı hakkında araştırmalar bu çalışmada toplandı. Görünürde her üç vadide az eser vermiş olarak bilinen san' atçının mûsikîmize olan etkisinin ne derece önemli olduğu sonucuna varılmıştır.
Neyzen, Hattat, Hacı Mehmet Emin (Yazıcı) Efendi: He was born in 1 883 in Istanbul at Tophane region, Türkgücü district, Defterdar Slope at home number 48. His grandfather Ömer Efendi was contractor of Galata Bridge and father Hafız Eyıp Sabri Efendi was preacher of Hırka-i Saadet Mosque. He attended Tophane Elementary School and Sirkeci Secondary School respectively. During his attendance to secondary school he was trained by Çukurcumalı Kadri Efendi at caligraphy. Later he attended and educated from Istanbul Preparatory School. Also he attended School of Law for two years. During his education at Süleymaniye Holy Mosque by Tophaneli Kazaskeri Haşim efendi, he also was appointed as the pupil to chief secretary of Post and Telegram Ministry with a salary of 30 guruche in 1902, and during reorganization upon formation of constitutional government he was raised to secretary position with a salary of 600 guruche. When World Word I declared, he was appointed as the calligrapher at General Staff, Topographical Printing Office. He started to music courses by Hafiz Haşim Efendi who was Nusretiye Camii Caretaker. He was taught to play ney. Later he was accustomed to write down the music of work on western music, music notation using certain letters invented by Hamparsum and musical theories. He wrote the musical notations of a repertory taught in person by many masters and writers. Upon death of Neyzen Chief Hakkı Dede at Kulekapt Mevlevihane (recently Museum of Classical School of Poetry) he was appointed as the Chief Neyzen (Neyplayer) and continued his position until the lodges were (1925) closed. During recitation days at other Mevlevi lodges (i.e. Üsküdar Mevlevi Lodge) he was requested to be present. He as then also known as "Dede". Upon "surname rule" was effected he was given "Calligrapher" surname. His nickname of "Dede" was not natural but imaginary. It was because although he did not novitiate, he was appointed as the Chief Neyzen of Galata Mevlevi Lodge. On the other hand, he taught ney playing at Dar'uI Elhanda. Upon completion of National Independence War he worked at Department of Topograpy of General Staff in Ankara for a while. He then retired and moved to Istanbul. He was accepted as the master of ney players. He taught outstanding ney players including Halil Dikmen, Hal Can, Süleyman Erguner, Dr. emin Kılıçkale (from Gaziantep), Hakkı Süha Gezgin, Bahriyeli İbrahim Bey, Cafer Bey, Sucu Hasan Dede, Hakim Hicabi Fıratlı, Semazen Ahmet Bican Dede, Mesut Paker. Upon death of his brother, calligrapher Ömer Vasfı Efendi in 1 928 he married relatively on a late age according to his brother's testament. However, we know that he lived in his late ages as a single. vn His some compositions are still available: 10 peshrev (usually of four parts, used with long rhytmic pattens and played at the beginning of a classical performance), 10 instrumental form in four movements, 1 19 instrumental improvisation in notation form, 7 songs ( Y. öztuna TM. A. Chapter 2, pp.383). 10 peshrev, 2 instrumental form in four movements, 18 vocal refrains (in a rhytmic pattern with six beats), 81 instrumental improvisation, mainly written in Hamparsum letters. Upon a paralysis in 1943 he was sick in bed and died in 1945, February 3, Saturday, at 12.30. He was then buried at Eyüp Sultan Merkez Efendi Cemetery next to his brother Hacı Ömer Efendi. AS A MUSICIAN AS A COMPOSER It is possible to consider Emin Dede as a composer at a level of High Art Music in Sufi Music. His 8 peshrev all in devrikebir (a major rhytmic pattern of 28 beats with signature of 28/4) depends on Sufi Music form. PESHREVS (in Sufi Music form) 1- Beyati Peshrev 2- Buselik Aşiran Peshrev (composed for Buselik Aşiran Ayin-i Şerif of Ahmet Avni Konuk) 3- Dilkeşide Peshrev (composed for Dilkeşide Ayin-i Şerif-i of Ahmet Avni Konuk) 4- Isfahan Peshrev 5- Rahatülervah Peshrev 6- Ruy-i Irak Peshrev (composed for Ruy-i Irak Ayin-i Şerif-i of ahmet Avni Konuk) 7- Suzidil Peshrev 8- Suznak Peshrev Yılmaz Öztuna and Neyzen Halil Can consider Kürdilihicazkar Peshrev composed by Emin Yazıcı as in Devrikebir form. I have considered it in Devrikebir form until I transcribed the Kürdilihicazkar Peshrev from Hamparsum to the current form. Rahatü'lervah Peshrev of which the notation I acquired during my investigation has neither been considered by öztuna nor Can in their listings. 9- Kürdilihicazkar Peshrev AYIN-İ ŞERİF He for any reason whatsoever gave up in the half of first section to compose an Ayin-i Şerif in Müstear form as a myrical work in Sufi music. It is considerable that the adaptation to kudum devrikebir prosody especially in peshrevs. Tunes were adapted into the beats of form like an adaptation of a letter into an envelope. Master who gave serious attention on rhytmic patterns also performed each specific type of each tune evidently in each progress of tunes. YÜRÜK SEMAİ SAZ VOCAL REFRAINS Yürük semai works of Neyzen Emin Dede to be considered as sa/. works are quite short pieces and reflecting saz vocal refrains representing tune progress. These pieces which were not found in öztuna and Halil Can repertory, were collected by Neyzen Niyazi Sayın from Neyzen Halil Can in Hamparsum notation, and I have photocopied the same upon approval of Niyazi Sayın. I am in receipt of photocopied forms of 18 yürük semai saz vocal refrains in Hamparsum notation as in both Neyzen Emin Dede Hamparsum notation and in Halil Dikmen hamparsum notation forms 1. Uşşak yürük semai saz vocal refrains 2. Karcığar yürük semai saz vocal refrains 3. Yegah yürük semai saz refrains 4. Muhayyerkürdi yürük semai saz vocal refrains (it was recorded as muhayyerkürdi and kürdilihicazkar uponmuhayyer inthe copies of N. Sayın and Halil Dikmen, respectively. Halil Dikmen also transcribed a version from gerdaniye, i.e. kürdilihicazkar) 5. Muhayyer yürük semai saz vocal refrains 6. Saba yürük semai saz vocal refrains 7. Eviç yürük semai saz vocal refrains 8. Hicazkar yürük semai saz vocal refrains 9. Hüseyni yürük semai saz vocal refrains 10. Hicaz yürük semai saz vocal refrains 1 1. Segah yürük semai saz vocal refrains 12. Acemaşiran yürük semai saz vocal refrains 13. Rast yürük semai saz vocal refrains 14. Buselik yürük semai saz vocal refrains 15. Nihavent yürük semai saz vocal refrains 1 6. Neva yürük semai saz vocal refrains 1 7. Şevkefza yürük semai saz vocal refrains 18. Evcara yürük semai saz vocal refrains SAZ SEMAIS Three saz semais have been determined along with notations. 1. Neva Saz Semai (Hamparsum) 2. Segah Saz Semai 3. Beyati Buselik Saz Semai (Hamparsum) Yılmaz Öztuna holds the neva and segah saz semais of these saz semais. Halil Can recorded only Neva saz semai. TAKSIMS Taksims of Emin Dede are in written notation. Therefore, I have included his "Taksims with Ney" since they are in notation form. Yılmaz Öztuna informs us of his taksims of 1 19 tunes as a imitative piece of poetry of Kar'ı Natik consisting of 1 19 tunes of Ahmet Avni Konuk. Also, 8 1 taksims are mentioned of several tunes under "Taksimat Listing of Neyzen Hacı Emin Dede" in a listing issued by Mehmet Dalbudak (recently living in Gaziantep) who is a Nay-i student of Dr. Emin Kılıçkale who was also a student of Neyzen Emin Dede. Mr. Niyazi Sayın who is Ney Teacher at the Conservatory also declared that these taksims are recorded in Hamparsum notation. There are two taksims written in Hamparsum letters handwritten by Halil Dikmen in the photocopies which I received from Mehmet Dalbulak. On the other hand, there are notations of some taksims in Hamparsum notebook written by Emin Dede which 1 received from Neyzen S. Yılmaz Kale son of Dr. Emin Kılıçkale. Some taksims are available along with some notations in the notebook as per the index at the end of notebook. AS A CALLIGRAPHER Emin Efendi and his older brother Ömer Vasfı Efendi were taught on sülüs (Arabic script with large letters) and nezih lessons by Çukurcumalı Kadri Efendi who was calligraphy teacher at Fevziye Rüştiyesi School after elementary school. Their teacher was a person who addicted to collect master works rather than acting as a calligrapher, and thus all we know is not at adequate level. Also, nobody was aware of his death, and when his ships started to make noise his neighbors came in and realized he died, and his invaluable collection were destroyed in the streets. During attendance of Ömer Efendi to Sami Efendi's lessons, he carried him to the lessons. It is reported that Sami Efendi who was an intimate friend of Nayi Aziz Dede who blown ney stated "that little boy has the style of eminents, the more I listen to him the more I feel pleasure" upon blowing of younger Neyzen Emin Efendi During these visits, Emin Efendi presented his calligraphy works to Huzur-u Sami, and master gave him some suggestions. Emin Efendi did not practice calligraphy unlike Ömer Vasfı Efendi but Emin Efendi was so gifted on the calligraphy along with music, his talents were the making his way all along any artistic form. During his attendance at Mosque lessons and School of Law, he was appointed as the pupil to chief secretary of Post and Telegram Ministry, then appointed as the Caligrapher of General Staff in 1924 thus forming his surname in the future as the "calligrapher". In the meantime, he advanced his talents by correcting Cel writings of his older brother The first and foremost character of Emin Efendi in calligraphy is "imitation" talents. He worked on imitations upon suggestions by Master Necmeddin Okyay and imitated in the photographical quality the Sülüs - Nesih lines of respectful major calligraphers. "Imitation" is the most respectful style in the calligraphy. Emin Efendi who wrote on documents and maps owing to his official position continued his calligraphy and musical interests after retirement. But in 1943 the paralysis cut the connections between him and his art. Emin Efendi can be considered as an equivalent of Kazasker Mustafa İzzet Efendi in terms of position in the calligraphy. However, his official duties and short life prevented efficient artistic life unlike Mustafa İzzet Efendi. His works are in limited number: - Sacred verse in celi sülüs form on the fountain in front of the 1st Vakıf Hani in Sultanhamam (anything else in not available). Further, we can find the works of both artists in private collections. Celi writings in the form of patterns of Ömer Efendi and Emin Efendi were collected by M. Uğur Derman from their homes 20 years ago
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1995
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1995
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

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