Türk Müziğinde Geçmişten Günümüze Nota Yazıları

Abstract

Her milletin dili ayrıdır. Her dilin bir alfabesi vardır. Günümüzde bir dil vardır ki; dünyadaki bütün milletler bunu anlar, hisseder. Dünyaya hakim olmuş bu dil MUSIK'dir. Bu dilinde alfabesi yani NOTA YAZISI vardır. Bu alfabe-günümüzde olduğu gibi ortaya çıkmadı. Doğdu, gelişti ve bu güne geldi. Bu çalışmada, Nota yazısının gelişim süreci ortaya konmuştur. Müzikologun en önemli araştırma malzemesi olan nota yazısı, Türk Musikisi geleneğinde yerini çok geç almıştır. Tarihi gelişimi sırasında çıkan nota yazılanda kıskançlık ve ustadan çırağa intikal eden, kapalı eğitim geleneğinin sürmesinden dolayı hiç yayılmamış, sonuçta eserler günümüze gelinceye dek, meşk sisteminden dolayı orjinalliğinden çok uzaklaşmıştır.

Nowadays there is such a language that people ali över the world understand it. The most sensitive feelings, the deepes thoughts. arudeties and pleasures may be experessed by this language. Of course, thls language is MUSIC. Just ilke the other ones, thls language also has an alphabeth. Thls alphebeth, which has certain rules and paratucular peculiaritles. Is a kind of muslcal note- writing. Thls note-wrttlng in our own culture, is too dlfferent accordlng to muslc belonglng to the other cultures. The note -writing in Turkish Art Muslc proceedlng through various phases has developed and reached up to day. Many people thlnk that note-writlng in Turk¬ lsh Art muslc ejdsted durtng the time of Selim The Thlrd and reached today as a re- sult of those prevlous works. For this point of view we may say both true and false. False. because our musical note-writing existed in nineteenth century and was developed by a lot of musicians as If they wanted to pass över the prevlous no- tation system. True. because none of note-writings was regarded until those days because that the works had been being thought by heart by the masters during their prac- tice. But the works have been changed and deformed by means of that system in the course of tüne and also most of the works have been lost and as a result of this. these works have not come up to day. Today, most of old works that we have, are not ilke ortginal ones. They are not the same as they have been composed in their ümes. For instance. it is said that our great composer Buturizade Itrî Efendi has composed more than 1000 works but unfortunately only thlrty of them are present now. in those days Selim the 3rd might have noticed it that he wanted "Hamparsum Limonclyan" and "Abdülbaki Nasır Dede" to invent a notation system. When the Islamic life began. The Turks were uslng Ebced system of note- \vriting. Ebced system of notation is an alphabetic-musical system in which the notes are shown by the letters. The difference from the others is that only the Arab letters are used in this system and it becomes richer by means of tunes belonglng Turkish Music. Not only öne but also there are a lot of Ebced note-writings. Although expert musicians Just ilke Kindî, who was also an Important phl- losopher. Safiüddin from Urmiyye. Kutbeddln Şlrazi, Abdûlkadlr Meragî, Osman Dede the expert of Nay and his grandchild Abdülbaki Nasır Dede and also Kantemir had written works by using these Ebced systems. ali these system were not in de- mand. Ebced notation system was not know and used by musicians, performers and composers systematically. Of course, it was known and used by only the scientists and the philosophers. in this work, the note-writings of these persons have been researched and enough transcriptions of Ebced notaüon have been glven. The idea that Ebced no- tatlon system was not in demand has been supported by the quotations from writ- ten texts of the experts. The fact that the note-writings and the works on this subject are very few, makes us to apply the wıitten texts out of music. They are hlstory books, travel books, dlarles, notebooks havlng the words of songs, discharge pappers, biogra- phies and even the works written on religion and lierature. Those who want to study on history of Classical Turklsh Music have to apply the second-hand sources which have been dlscussed above because of absence of firsthand musical note-writtlngs. " Many people do not understand the ancient music of us And those who do not understand it never understand us". APOET "Natotion for music means \vriting for science, indeed