Dellalzade İsmail Efendi'nin Şarkıları Üstünde Bir Uslub Araştırması

Abstract

Bu Yüksek Lisans tezinde Dellâlzade İsmail Efendi 'nin şarkıları üzerinde üslûb araştırması konu edilmiştir. Bu konunun seçiliş amacı üslûb gibi musikîde soyut olarak algılanabilen birkavramı somuta indirgeme arzusudur. Dellâlzade îsmail Efendi 'nin şarkıları olarak belirlenen araştırma alanında > sonuca ulaşmak için seçilen temel yöntem analizdir. Analize tabi tutulacak notaların temininde izlenen yol mümkün olan en eski eser notasını elde etmeye çalışmak olmuştur. Bunun sebebi, zaman içinde en az bozulmaya uğramış yani bestecinin ürettiği eserin aslına en yakın olanını incelemek gerektiği inancına sahip olmamızdır. Analizde başta güfte "şarkı sözü" ele alınarak, şairi, edebî türü, vezni, kafiye düzeni, konusu, tespit edilmeye çalışılmıştır. Ardından eserler form elemanlarına ayrılarak yani Biçim "Şekil", Melodi, Ritm açılarından incelenmiştir. Dellâlzade İsmail Efendi 'nin şarkılarının bazı ortak yönleri yakalanarak yapılan tespitlerimizde, şekil açısından; bestecinin Peşrevler 'de "Teslim" karşılığı olarak düşünebileceğimiz bir bölme parçasını, şarkılarının zemin ve meyan'ının son kısmında kullandığını,... Melodi açısından; makama ait ses alanının zorladığını, değişken ve süprizlerle dolu bir melodik çizgiyi takip ettiğini,... Ritm açısından; Aksak gibi bazı usûllerde usûlün yapısına aykırı senkoplu bir yapıyı kullanmayı adet etmesi ve benzeri olayları gördük

In this thesis, the research on the manner of the songs. Dellâlzade İsmail Efendi has been the matter of subject. The choosing of this subject aims the wish of reducing to concrete concept, the concept that can be perceived abstract in Turkish music. During the research determined as for the songs Dellâlzade İsmail Efendi, the basic method chosen to come to the result is "The analysis". The way pursued in producing the notes that will be analysed, is trying to find the oldest possible work note. The reason for this is to examine the most nearer work to the orijinal of the work produced by the composer. In the analysis, furtly the words of the lyric being examined and it's poet was tried to be dermined as well as, the kind of literature, the weight, the rhyme and the subject. The works have been then separated to form elements and examined according to their shape, melody and rythme. In the examining as for shape, it should be formed formulas, showing the relations of the elements of the works with the tempo and the word of music. In the melodical analysis, the understanding of tune, passages, range, modulation and melodical contuour have been taken in hand. And in the examination effected for the rhythme, the concept of rhythme, the change or not of shape performing the tempo, the melodical rhythme, the music words rhythme, the "weight of the poeme" were the subject worked on. As the result of this research effected for the first time within the structure of the works belonging to a composer and on this kind, same common relations being seized in the songs of Dellâlzade İsmail Efendi who is not very elective in regard to music text, we have seen and determined that, as refard to shape, in the beginning of the 18th century when the song form has begun to be newly formed, the composer used the piece that we can think is the equivalent of "Teslim" used by "Peşrev 's", as the last paragraph in his songs, and as regard to melody, not been sincere to the specif icat ions of the tunes, he has forced the range of the tune, he had preferred the development and extension instead of modulation in "Zemin" and "Meyan", he had followed a melodical line unsteady and full of surprises, and as regard to rhythm like "Aksak", in some tempos he has used a structure which syncops which was contrary to the structure of the tempo. As a result, it has been obtained some characteristics that can be said are the manner of Dellâlzade Ismail Efendi. When all of them come together, it has been tried to render concrete the principle prejudice showing the difference that the song pertains to Dellâlzade and that the listener or the performer distinquish by intution. We wish that this study will consist the base of our further more detailed studies. We world like to hope that this study will be repeated with other kinds and composers in Turkish Music which is full of unstudied areas.