Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17898
Title: Hüseyin Fahreddin Dede
Other Titles: Hüseyin Fahreddin Dede
Authors: Atasoy, Cahit
Kaya, M. Refik
26975
Türk Müziği
Turkish Music
Keywords: Müzik
Biyografi
Hüseyin Fahreddin Dede
Türk Müziği
Music
Biography
Hüseyin Fahreddin Dede
Turkish music
Issue Date: 1993
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: 1853-191 1 yılları arasında yaşayan Şeyh H. Fahreddin Dede, Beşiktaş Mevlevihanesin'de doğmuş. Maçka Mevievihanesi'nde evlenmiş, Bahariye Mevlevihanesi'nde 49 yıl şeyhlik yaptıktan sonra burada yakalandığı kolera hastalığından 57 yaşında vefat etmiştir. Eşyaları yakılmış, eserlerinden rik'a hat ile yazdığı mecmuası, bir mevlevi ayini, bir peşrev, iki saz semaisi ve iki şarkısı günümüze gelebilmiştir. Bu tezin giriş bölümünde, şeyhin musiki çalışmalarına devrin müzik hayatındaki gelişmelere ve müzisyenler üzerindeki tesirine değinilmiştir. Daha sonra doğduğu Beşiktaş Mevlevihanesi'nden yola çıkılıp şeyhliğini yaptığı ve vefat ettiği Bahariye Mevlevihanesi, tekkelerin kapatıldığı 1925 öncesi ve sonrası itibariyle ele alınmıştır. Şeyhin hayatı bölümü ise, yaşamının başladığı Beşiktaş ile sona erdiği Bahariye Mevlevihanesi bölümleri arasına konulmuştur. H. Fahreddin Dede'nin hayatı, sanatçı kişiliği üzerine edinilen bilgiler, tarihi, siyasal ve toplumsal yönleriyle açılarak konu daha iyi gözlenilmeye çalışılmıştır. Mevlevihaneter ve Şeyh hakkında yazılanların mümkün olduğu kadar tarihe ve gerçeğe dayalı olması için konu, karşılaştırmalar yapılarak araştırılmış, emin olunan bilgiler aktarılmıştır. Kesinliği olmayan bilgiler ise mukayeseli verilmiş bazıları hatıra olarak sunulmuştur. Metne katkısı olan hatıralar bölüm içlerinde işlenmiş, diğerleri ayrı bir bölüm halinde verilmiştir. Bölüm içlerinde geçen tarihler, orjinal haliyle aktarılmış, bu tarihler için tez sonunda bir çevirim kılavuzu hazırlanmıştır. Mecmuasında ki Farsça ve Osmanlıca şiirler Türkçe okunuşlarına çevrilmiş, manzumelerin vezinleri tespit edilerek Farsçaları tercüme edilmiştir. Metinlerde geçen yabancı kelimeler için sözlük hazırlanarak tez sonuna eklenmiştir. Orjinal metinler eklerde fotoğraf ve notalarla verilmiştir. -3C Notalar bölümünde Acemaşiran ayininin Farsça Divan-ı Kebir ve mesneviden, gazel, rüba-i ve beyit numaraları tespit edilmiş doğru ok unu şiarıyla Türkçeye çevrilerek tercümeleri yapılmıştır. Böylece bugün kullandığımız Türk musikisi sisteminin oluşmasına ve birçok klasik eserin günümüze intikal etmesine, katkılarıyla sebep olan şeyh H. Fahreddin Dede tanıtılmaya çalışılmıştır.
Husein Fahreddin Dede (Al Sheikh Husein Fakhr Al-din) who lived in the years between 1853 and 1911, was born in Beşiktaş (Bashiktash) Mevlevikhane. Following his Sheikhdom of 49 years in Bahariye Mevlevikhane (Bahariye Mevlevi convent) he has died of Cholera Disease at the 57 years of age; His belongings have been burnt. Among his works, the "Mecmua" which has been written by him with rik'a calligraphy, Adjemashiran Mevlevi Ayin, one peshrev, two saz semaisi and two songs have reached these days. 19TH Century in which The Sheikh has lived is a very important age from the viewpoint of musicians and thinkers. When we look at the Mevlevikhanes from their magnificent period to their abolition, Husein Fahreddin Dede is nearly the last ayin (mevlevi setting for the rite) composer. At this century music has started to change its direction and the hard forms like kar, beste, murabba have started to give their places slowly to "song" form due to the inclination onf the public. The instruments have started to have been identified amoung the verbal settings and in the hands of the masters of music, like Tanburi Cemil (Dee mil the tanbour player), it has started to show its colours and brightnesses due to their superior playing technics. On account of this, the composers have made works at this direction and create fantasias. The sound of the Nay reed flute of Husein Fahreddin Dede was without puff and it was a sound of quality. His skill in playing the single musical note and joint notes was consisting the inclination of using the instrument at the west standards. In the settings made at this age both in verbal or instrumental works, the effect of the west music are being observed. In addition to the -close order- the musicians using the jumped sounds, they have entered into separated notation affectation. These studies have been incentive to the composers in learning the theory of In 19th century which was very rich from the viewpoint of composers and reciters many of the musicians have followed Bahariye Mevlevikhane. But the theoretical knowledges of these masters of the music were very low. And as a natural result of that the Turkish Music was being learned by listening to the masters and practicing together, the persons who understand the musical notes were counted on one's fingers. "SET However there were around 25 works written in Arabic, Persian and in Ottoman Language about the theory of Turkish Music. The Sheikh Husein Fahreddin the sheikh of Bahariye Mevlevikhane, The Sheikh JaJaladdin the sheikh of Yenikapi Mevlevikhane and Atauiiah Dede, the sheikh of Galata mevlevikhane have read and studied these books and they have increased their sights and their attainments. Rauf Yekta and Dr. Suphi Ezgi who followed the Bahariye Mevlevikhane and become the follower (dervish) to Husein Fahreddin Dede, have practiced many settings from the Sheikh and with the incitement of the Sheikh they have written many of them in musical notes. The searching nature of the Sheikh has become example to these musicians and directed them to work on this subject. At the end of the hard works of these valuable musicians of ours, music writing system and its theoretical structure we use today have been established and the Turkish Music Schools (Conservatoires) that are being set up one after another have been the most valuable productions of such efforts. During the study of this thesis, we have started from Beshiktash Mevlevikhane in which The Sheikh Husein Fahreddin Dede was born. The sheikhs as from the establishment of this Mevlevikhane, up to the time it has been included in the Çırağan Palace -being cancelled-, musicians and the cesas have been taken in hand in the time and the place relations. After that, transfers up to the time we reached Bahariye Mevlevikhane have been studied. Following that the life of Husein Fahreddin Dede has been taken in hand and starting from his birth the informations about his father, his education, his teachers, his sheikhdom and his marriage has been told. The personality of the Sheikh his literature aspect, his poetry, and his relations with the other orders have been evaluated. And than the music education of the Sheikh has been inmltroduced. His skill on the Nay reed flute playin and the fame he has reached because of that have been studied. His musical works have been studied separately, and his mastery in setting the great forms of Turkish Music -like ayin and kar have been brought up. The additions of Husein Fahreddin Dede is not that much. Because of his teaching character he has practiced many settings together with his students so he has saved many compositions having them written by his students instead of leaving them into the darkness of history. The famous "Mi'raciye" of the Sheikh Othman Dede the Nayi (the Nay player), is one of SHE them. Later on, the Bahariye Mevlevikhane at which he has become sheikh and was deceased hasbeen introduced. Than, social and collective life of the convent, its restorations, and the effect of the political life of the time on the inhabitants of the convent have been taken in hand. The music life of the convent and the dedes and the musicians who have been educated and lived here, have been research and introduced.By means of the memories and cases, time have been held alive and the view of the subject has been expanded. His students and comtemporaries have been taken in hand in separate parts and given chronologically, the productivity of this age from the viewpoint of the art of music has been brought up. Successively, the decease of the Sheikh has been studied and the chronograms composed have been written. The sheikhs after the sheikh Husein Fahreddin Dede's death and the situation of Bahariye Mevlevikhane have been evaluated up to 1925, in which the convents have been abolished, and after. Following that, the information about Hamushan -the cemetery- its today's situation has been told and its realization has been written under the light of the informations given Selman Tüzün the grandchild of the Sheikh. The memories that evaluates the text have been taken in hand, in the parpart concerned and the others have been given in a separate part. Due to the conversation made with Selman Tüzün -the grandchild of the Sheikh the unknown aspects and memories have been discovered and written and thus we have tried to know the Sheikh better. With several memories this part has come to an end. Making translations from the only written work of the Sheikh in hand "Mecmua", have been given as a separate part. From the subjects written in Mecmua, the Turkish of the Arabic khaliphate certificate which has been given by the Sheikh, to Sayyed Ali Molla the Mevlevi Sheikh of Madinah, some notes written about the birth and the death dates of the sheikh, dates of transportation and the restoration of the convent have been converted to Turkish pronunciations. In addition his Persian poems have been translated. As for his poems in Ottoman language, their forms and their readings in accuracy have been given. For thewords of Ottoman Language used in the text a vocabulary has been prepared at the end of the thesis and the original adaptations from the Mecmua has been given in the appendix. The dates given in the text have been written in their originals and a conversion table has been prepared for these dates at the end of the thesis. ax: In conclusion and suggestions Part the evaluation of the Sheikh has been made and his contributions to Turkish Music and the need for necessity of protecting and well understanding our such valuable masters have been stated. During the study of this thesis we have paid attention to the realities and the history concerning Husein Fahreddin Itede and Mevlevi Convents and the subjects have been researched comparatively. The informations that are not certain have been submitted as a memory comparatively. Among the photographs in the appendix, first and the last periods of the Bahariye Mevlevikhane and its today's location, Husein Fahreddin Dede his brother in law Jalaleddin Dede, his father in law Othman Salaheddin Dede, his daughter Destina Khanim, his grand child Selman Dede, the head Nay Player of the Bahariye Mevlevikhane Aziz Dede, and Sultan Mehmed Reshad the 5.th's visiting the Mevlevikhane (Convent) are being seen. In the musical notes part, the Acemashiran Ayin of the Sheikh and its Turkish reading, its translation, gazel, rubai and beyit numbers (verse numbers have been found in Divan-i Shams-i Tabrizi and Mathnawi (Mevlana Jalaleddini Roumi's books) and written. As for the other musical works of the Sheikh given in Appendix, these are Dugah Peshrev made for Dugah Ayin of Jalaleddin Dede who was the brother in law of the Sheikh, Huseini and Mustear Saz Semai, Hidjaz Hümayun and Hisarbuselik songs. These two songs have been transmitted to us throfgh the book named Turkish Music in Theory and Practice -of 5 volumes-. The musical notes of the songs also have been written by esteemed theorist and tanbour player Dr. Subhi Ezgi
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1993
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1993
URI: http://hdl.handle.net/11527/17898
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

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