Hasan Ferid Alnar'ın Saz Semailerinin Analizi
Hasan Ferid Alnar'ın Saz Semailerinin Analizi
Dosyalar
Tarih
1998
Yazarlar
Ciyas Güzey, İpek
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Institute of Social Sciences
Özet
Bu çalışmada ilk olarak H.Ferid Alnar’m biyografisi kronolojik sıraya göre; eserlerinin listesi müzik yönünden şahsiyeti çeşitli kaynaklardan alıntılarla yazılmaya çalışıldı. Tez de H.Ferit Alnar’ın saz semailerinin form, melodi, ritm yönlerinden özellikleri ayrıntılarıyla analiz yapılmaya çalışılmıştır. Alnar’m saz semaileri klasik saz semailerinde olduğu gibi (A,B/C,B/D,B/E,B) biçimindedir ve ilk 3 haneler 10/8’lik aksak semai usulüyle, IV. haneler farklı usullerle yazılmıştır. Hane içindeki cümlelerin toplamı genellikle asimetrik, teslim içindeki cümlelerin toplamı ise genellikle simetriktir. Cümleler genellikle usulün sonunda bitmektedir. Ancak bazı cümlelerin usulün başında bittiği de görülmektedir. Bir cümlenin bittiği notayla, diğer cümlenin başlangıcındaki nota aynı olabilmektedir. Müzik fikirlerini farklı ölçülerde geliştirerek çeşitli benzerlikler yaparak kullanmıştır. Alnar, Fasıl saz semailerinde olduğu gibi makamın özelliklerini baştan sona gösterme çabasına girmemiştir. 1926 yılında yayınlanmış olan “on saz semaisi” ni içeren albümü batının donanım anlayışına göre yazmıştır. Saz semailerinde kullandığı aralıklar değişmektedir. Bazı saz semailerinde genellikle bitişik, bazılarında atlamalı, kromatik aralıklar ve arpej sesleri kullanmıştır. Modülasyona çok önem veren Alnar, aynca melodi yürüyüşünü çok sık kullanmıştır. Bazı saz semailerinin melodilerinde kırık çizgi kullanmıştır. Usul kullanışı: Usul vuruşlarına uygun kalıplar kullandığı gibi alışılmış kalıbın dışına çıkmış, farklı kalıplar kullanarak usulün düzenini bozmuştur. Trioleler ve değişik senkoplar kullanmıştır. Triolelerin bazıları çalınım açısından pek kolay değildir. Bazı cümleleri ve motifleri usulün sonundan veya ortasından gizli auftaktla başlatmıştır. Alnar, kontra tempo (karşı zaman) kullandığında, bağlar ve senkoplan yardımcı eleman olarak kullanmıştır. Saz semailerinde sık olarak kullandığı legatoların bazılarında usulün düzenini bozarak senkoplu hale getirmiştir. Bağ işaretleri kadar çok sık olmasa da staccatolara da yer vermiştir. Eserlerinde notalar kadar sus işaretlerinin de önemli bir yer tuttuğu görülmektedir. Kendi çağında bile pek çok bestecimiz eserlerinde nüans işaretlerini kullanmadığı halde Alnar bu işaretleri önemsemiştir.
Haşan Ferit Alnar, one of the composers of the Republic period, who was a member of the “Turkish Fives” has an important place among composers in Turkey and Europe. He has produced compositions in the fields of Turkish and Westem music. The melodic and rhythmic elements of his works generally depend on national colours. The orchestration of them is easy, open and plain. Although his compositions following his music training in Vienna seem completely in field of westem music, Alnar generally uses the melodies and themes of Turkish music. In other words, he has integrated the melody and tempos of Turkish music with the polyphony of westem music. In the Saz Semais he has composed after taking a year of harmony lessons from H. S. Arel in 1923 and after taking three years of harmony, counterpoint, and fiıgue lessons from Edgar Manas, although monophonic, we encounter techniques used in westem music. One of these is the counter tempo between the 9& and 12th measures of the IV. section (section E) of the Nişaburek Saz Semai. It is a sound which enters from a soft time, which extends with legato, but which does not extend in fol!owing stressed time. In other words it is the striking of the notes before or after the measure times systematically. The legatos and syncopes are instruments enabling the establishment of counter tempos. The works (Saz Semais) of Haşan Ferit Alnar which we have observed are among the forms of Turkish music which have been composed for instruments. Taksim, pişrev, medhal, saz semaisi, longa, sirto, dance tunes, are forms which have been composed for instruments. We shall briefly talk about these. Taksim: An instrumental music which is played by any instrument, which shifts to any one or any few modes, which presents every characteristic of the mode, which is not pre-prepared but played according to the present inspiration of the musician, and which is not bound to any tempo. Pişrev (Peşrev): In the Persian language, “piş” means front and “rev” means going. So Pişrev means “the one which goes from the front”. In fact, the Pişrevs are Saz works which are played at the beginning of a fasıl. They consist of sections each of which are called “sections”. At the end of each section there is a section called teslim or mülazime whose tempo never changes. The Pişrevs are named after the name of the mode in the first section and they are attached to this mode. Modulations are made to other modes in other sections, but it is retumed to the first mode with the 2nd section. Generally at the end of every section a half pause is done on the dominant of the mode (in the 5Ü1 degree) used in that section.
Haşan Ferit Alnar, one of the composers of the Republic period, who was a member of the “Turkish Fives” has an important place among composers in Turkey and Europe. He has produced compositions in the fields of Turkish and Westem music. The melodic and rhythmic elements of his works generally depend on national colours. The orchestration of them is easy, open and plain. Although his compositions following his music training in Vienna seem completely in field of westem music, Alnar generally uses the melodies and themes of Turkish music. In other words, he has integrated the melody and tempos of Turkish music with the polyphony of westem music. In the Saz Semais he has composed after taking a year of harmony lessons from H. S. Arel in 1923 and after taking three years of harmony, counterpoint, and fiıgue lessons from Edgar Manas, although monophonic, we encounter techniques used in westem music. One of these is the counter tempo between the 9& and 12th measures of the IV. section (section E) of the Nişaburek Saz Semai. It is a sound which enters from a soft time, which extends with legato, but which does not extend in fol!owing stressed time. In other words it is the striking of the notes before or after the measure times systematically. The legatos and syncopes are instruments enabling the establishment of counter tempos. The works (Saz Semais) of Haşan Ferit Alnar which we have observed are among the forms of Turkish music which have been composed for instruments. Taksim, pişrev, medhal, saz semaisi, longa, sirto, dance tunes, are forms which have been composed for instruments. We shall briefly talk about these. Taksim: An instrumental music which is played by any instrument, which shifts to any one or any few modes, which presents every characteristic of the mode, which is not pre-prepared but played according to the present inspiration of the musician, and which is not bound to any tempo. Pişrev (Peşrev): In the Persian language, “piş” means front and “rev” means going. So Pişrev means “the one which goes from the front”. In fact, the Pişrevs are Saz works which are played at the beginning of a fasıl. They consist of sections each of which are called “sections”. At the end of each section there is a section called teslim or mülazime whose tempo never changes. The Pişrevs are named after the name of the mode in the first section and they are attached to this mode. Modulations are made to other modes in other sections, but it is retumed to the first mode with the 2nd section. Generally at the end of every section a half pause is done on the dominant of the mode (in the 5Ü1 degree) used in that section.
Açıklama
Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1998
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1998
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1998
Anahtar kelimeler
Müzik,
Hasan Ferid Alnar,
Saz semaisi,
Türk sanat müziği,
Music,
Hasan Ferid Alnar,
Sazsemai,
Turkish art music