Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17878
Title: Hacı Arif Bey'in Çeşitli Makamlardaki Aksak, Curcuna Ve Türk Aksağı Usullerindeki 50 Şarkısının Prozodik Tahlili
Other Titles: The Prosodic Analysis Of Haci Arif Bey's Fifty Songs In Various Tunes And In Style Of Aksak Curcuna And Türk Aksaği
Authors: Atlığ, Nevzad
Tan Sunat, Nurdan
30658
Türk Müziği
Turkish Music
Keywords: Müzik
Hacı Arif Bey
Makamlar
Prozodi
Türk sanat müziği
Şarkılar
Music
Hacı Arif Bey
Modes
Prosody
Turkish art music
Songs
Issue Date: 1994
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Hacı Arif Bey'in 50 eserini -prozodi yönünden tahlil ederken, romantik devirden bir kesiti, dolayısıyla romantik devir bestecilerinin ortak özelliklerini de ele almış oldum, Bu çalışmamı yaparken, eserlerin tümünü ve doğru yazılmış notalarını bulmaya gayret ettim. Fakat notaları rad yolardan almam güçlük yarattığından, konservatuarımızın arşivindeki eserlerle yetinmek zorunda kaldım. Ayrıca, tezimin hacmini daha fazla büyütmemek için altı, yedi ve sekiz zamanlı usûllerden oluşan ve bulabildiğim eserleri de tahlil dışı bırakmak zorunda kaldım. Hacı Arif Bey'in incelediğim eserlerinin sonucunda romantik devir bestecilerinin beste tekniği özelliklerinden bir kesit ortaya çıkmış oldu. Bu ve diğer dönemlerde yaşa yan öteki bestekârların eserlerinde bu yöntemle tahlil edilirse her dönemin kendine ait ortak beste tekniği özelliklerinin saptanacağı inancındayım.
Haca Arif Bey, who I was affected by his sentimental personality and whose each works that I realy, enjoyed, di rected me to do analyse his songs point of view in literary, esthetics and musical. While I was doing this my work, I could find all the works and their musical notes written correctly, in the arc hives of our own conservatory. Besides, in order not to enlarge the capacity of my thesis, I had to exlude the works I could find which were formed by six, seven and eight timed methodicals. For this reason I formed my analyse plan restricting by three style which are used by the composer. As a result of this work that I've just done, we can easyly say this, Hacı Arif Bey had been faitful to the tune technique in his period. The prettiness of melody has taken very important place in his all works..II- So much so that, for the sake of fluency of the melody and its prettiness sometimes he made sacrifices from the mea ning and stress. In that period, Prosody meter was used. Among the analyzed works of the composer, the lyrics of forty seven works are written in this meter. For this reason, sometimes the prosody forms had bro ken in the middle the word or word groups, and this have spoilt the meaning, but my means of the fluent melody mostly used by the composer, he didnt made us aware of these lyrics written in syllable meter among the fifty songs. In songs the lyrics written in syllable meter, is one of the characte ristics of the classic period. There fore we can also under stand that, the characteristics of the previous period was fallowed by means of Hacı Arif Bey. The main subjects in the lyrics, which were used by the composer were love and melancholy. That was directly proportional with his own life. He choose the lyrics which reflected his sadnesses and delights that he met during his life, and he produced countless beautiful works taking the lyrics and tunes up the whole. One of the characteristics of the musical composition technique of the Romantic period was to give large place for syllable and word repetitions in a work. But we havent been -III- meeting to this method much in Hacı Arif Bey's works. This has been showing us that Hacı Arif Bey became a transition to this period in which we have been living. Most of the lyrics he used in his works, haven't known yet to whom they belonged. Some works that their poests were known which he chose from those poets works who lived in the same period with him. Only two lyrics belonged to him among his works we analyzed. The tunes mostly used by the composer are; Nihavend, Hicaz, Uşşak, Kürdi'li Hicazkâr, Karcığar, Suzinak ve Hicaz- kâr tunes. In his works, prosody from was first in importance. Style was placed according to form. Styles he used were in harmonious unity wiht the lyrics. He gave very importance to meaning prosody and he reflected the meaning of the words to the melody. As a result of Hacı Arif Bey's works that I dealt, a section has come into view from the characteristics of mu sical composition technique of the Romantic Period composers. If the works of composers who lived in that period and other periods are analyzed by this method. I believe that common characteristics of musical composition technique which belong -IV- to each period will be determined. Besides, I also believe that we need this kind of analyzes of the songs since they can help to bring oft the artistic power of a composer. The lyricses in analyzed works were written in prosody meter. There fore the prosody forms seperated the words or words groups just in the middle and this effected the mean- i ing in the works. Among these works only three lyrics were written in syllable meter. So, we can easyly understand that the composer used characteristics of classical period. We also find the word and syllable repetition in the composer's works, but these weren't used a lot. That shows those works also carry the qualities of transition to the songs of the day. Before this composer the song forms were mostly like to fantasy and folk song. These weren't in a definite rules and it mostly included syllable metered lyrics. It was such a kind of form that our classical music was flavour of slow music. The insight which was brought by the compeser to the song form and his usage of this form as if it was a new form was imitated by many other composers since 1850. Especially some of this works were imitated continuously. In analyzed works the composer' generally composed according to the prosody forms (namely he gave more impor tance to form than lyrics). So much so that, the composer mostly set the end of the prosody forms. He succesfully created the beauty of meaning in comp leteness in his works. In lyrics, dominance of happiness and sadness were experessed in a good way with the flavour of tunes which were used in his works. The sence which was principal in lyrics. Combined with tune and if formed an excellent integrity. In works, it is preminent the harmonious unity between style and lyrics. So much so that the lyrics which were chosen and the style used by the composer were integrated in a posi tive parallelism. These analysis that I dealt with shows that now the composer. Created the prosodic esthetics and in what kind of characteristics he reflected that esthetics. According to this point of view the analysis of works and the artistics power of the composer were put out. While I was doing the analysis of works, I analyzed all the musical, literary esthetics and prosodic characteris tics in detail. VI If I can supply easiness to the researchers after me with this work in the future, I'll fell myself very pleased,
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/11527/17878
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

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