Halvetilerde musiki

dc.contributor.advisor Yavaşca, Alaeddin
dc.contributor.author Güney, Aşkın
dc.contributor.authorID 64237
dc.contributor.department Müzik tr_TR
dc.date.accessioned 2023-03-16T05:45:54Z
dc.date.available 2023-03-16T05:45:54Z
dc.date.issued 1997
dc.description Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1997 tr_TR
dc.description.abstract Dinî Türk Musikisi yapı itibariyle Türk adetlerinin, Türk duygusunun, inancının ve düşüncesinin yansımadır. Türkler musiki yaparlarken tüm duygu ve düşüncelerini dinin enirinde ve dinî duyguların dile getirilmesinde kullanmışlardır. Bundan dolayı Dinî Türk Musikisi, Türk Musikisinin esas yapışım oluşturmakla beraber çok önemli ve güzel bir özelliğe de sahiptir. Tezin konusu olan Halvetîliğin kökleri aslında Horasan ekolüne bağlıdır. Fakat Türk kökenli olup Osmanlı İmparatorluğu sınırlarına ve Arabistan'a yayılan yegâne tarikat olmanın verdiği özelliği taşır. Böylelikle Türk adet, duygu, inanç, düşünce ve musikisinin yayılmasında önemli bir görevin de öncülerinden olmuştur. Halveölik devrâni bir tarîkattir. Tüm eserlerinde devrimi olmanın verdiği özellikle, bir devrânilik ve devrâna uygun gizli bir ritm vardır. Bu araştırma dört ana bölümden oluşmaktadır. Giriş bölümünde Din ve Mûsikî bahsiyle beraber, dinî musiki de en önemli payı teşkil eden, Tarikat ve Musiki, Tarikat Âyinleri, Zikir, Zâlrirbaşılık ve Tarikatlarda Musiki Formları'ndan bahsedilmiştir. İkinci bölümde Halvetîyye Tarikatı ele alınıp, tarihi çerçevesi içerisinde Hazreti Muhammed Mustafa'dan (S.A.V) itibaren Halvetî Tarikatının kurucusu olan Şeyh Ebû Abdullah Siracüddin Ömer'e (KLS) kadar silsile yazıldı. Daha sonra ise Halvetiyyenin dört ana şubesi ve bu şubelerden ayrılan kırkdört kol elde edilen kaynaklar çerçevesinde bu bölüme yerleştirildi. Üçüncü bölümde Halvetîlikte, Sünbülîlikte, Şabanîlikte, Cerrahîlikte, Sinanîlikte ve Uşşakîlikte zikir, mûsikî ve devrân konulan ele alındı. Bu bölüme IX bestesi bulunamayan ve kaynaklarda özel besteli olarak tabir edilen Evradı Cerrahiyye ve okunuşunun örnek olarak yazılmasıyla son verildi. Dördüncü bölümde Halveti tarikatının kollarına mensup bestekârların hayatına geçilmiş, daha sonra tesbit edilen Halveti zâkîr, zâkirbaşı, musikişinaslar ve devrânîler ile beraber Halveti tarikatına muhibbi olan bestekârlar mevzuunu işleyen Muhibbân adlı konuya yer verilmiştir. Son bölümde öncelikle Sünbülî tekkelerinde yüzyıllardır okunması bir gelenek haline gelen "Sahfa-yı sadrında daima aşılan efkârı hû" adlı hüseyni ilahînin notasına yer verilip, tüm tarikatlarda okunmasına rağmen Halvetilerde daha çok okunan Uşşak Salâvat-ı Şerife ile Uşşak Salâvat-ı Kemaliye'nin notlan neşredilmiştir. Zikir aralarında okunan meşhur duraklardan sonra her halveti bestekârın şayet varsa elde edilen bir bestesinin örneği de sırasıyla bu bölüme yerleştirilmiştir. İncelemeler sırasında bestekârların eğitimini de mensup oldukları tekkelerde tamamladıkları gibi bilinen bir gerçekle karşılaşılmıştır. Halveti Tarikatı bu eğitim kurumlarının en önemlisi ve en değerlisidir denilebilir. Bu tarikat Hafız Post, Hatib Zâkirî Hasan, Abdülgani Gülşenî, Kenzî Hasan, Ümmi Sinanzâde Hasan, Karaoğlan Mustafa, Draman Zâkirî Ahmed Vekfi Efendi,...gibi dinî mûsikîsinin yanında din dışı mûsikîye de hizmet eden önemli musikişinasları içinde barındırmış, ve yaşatmıştır. Hatta o devirlerde bir musikişinasın varlığını göstermesi tarikat mensubu olmasına, tasavvufi ve musiki eğitiminden geçmesine bağlı olması kanaati de güçlenmiştir. Kısacası o günlerin tarikatları bu günün birer konservatuarlarıydı denilebilir. Sonuçlar ve öneriler bahsinde ise bu araştırmanın sonunda elde edilen bilgiler, bugünün düşünce yapısı içerisinde değerlendirilmiştir. tr_TR
dc.description.abstract In the early times all civilisations made music for a holy being which they couldn't even name at first, God. For this reason religion is the reference and source of all music. Jewish, Christian or Muslim, they tried to show their love and belief in God with the accompaniment of beautiful sounds. They communicated their feelings and wishes to God in mis way. Today, music belonging to sanctuaries like churches or mosques has taken the place of this old harmony of sounds that used to serve people's beliefs in the ancient times. Even today there is dispute about religious music in Islam. Some consider music as somenthing banned by God. However it is known that Mohammed gave great importance to vocal music and commanded that the Koran be read or sung according to some rules of aesthetics. The aim of religious music is not music itself, but worship. Therefore Turkish Religious Music has been merely the reflection of Turkish traditions, emotions, beliefs and philosophy. In short, the Turks have used music for the expression of religious feelings and this music is very significant to each member of the society. Tarîk" is an Arabic word meaning path and the path is taken in Islamic mysticism (sufism) is called "tarikat" ("sect" in English). There are many sects in Islam. Their mission is to teach people about beliefs and proper ways of worship. These sects carry the names of their founders. The subject of the thesis is the music of the Halveti sect. Eventhough Halveti music has been chosen as the subject, in fact there are no significant differences between the music of sects. This choice was made only to be more specific and to be able to go into detail. » In the first part of the research, the importance of music in religion and the relationship between music and sects was studied. Especially in the seventeeth century many sanctuaries which belonged to sects ("tekkes"), were established all over the Ottoman Empire. As new tekkes were established, the culture, literature and music of the sects spreaded Each sect has a ritual of its own. These rituals are started with "evrâd". Evrâd is the plural form of the Arabic word "vird" meaning "a prayer which is said frequently". Most of these prayers which are written down by "pîr"s or other important people in the sect, were also put to music, but none of the composers are known. After the "evrad" comes the "zikir" (Dhkir). In sufism, Dhkir is the repetition of God's name and it is the basis of all the rituals in the sects. While the dervishes are in the act of Dhkir, the "zâkirbaşı" who is the conductor of the ritual, is the most important person. Zâkirbaşıs have to have talent for music, a good voice and they have to know thousands of pieces of music by heart. After the importance of rituals was stated, the information on ilahi, sugh tevşih, na't and durak which are the most common forms was presented and this pas was ended. In the second part, the subject was the Halveti sect Şeyh Ebu Abdullah Siracüddin Ömer was the founder of this sect. He was also known as Ömer-ül Halveti because he liked among all the other kinds of Dhkir, "halvet" best That's why this sect was called Halveti. As the result of a number of researches it was revealed that fourty-four subdivisions were formed in this sect. However the Halveti sect was studied as a whole in the thesis. xu In the third part, music of the Halvetîs was studied. The Halvetîs practiced an open and oral kind of Dhkir. The most important characteristic of their ritual is that it is "devranî". "Devranî" is "rotational" in English and this kind of Dhkir was only practiced by the Halvetîs and another sect which is the synthesis of the Halveti and the Kadiri sects, the Eşrefi sect. By holding hands and putting their ams around the person next to them the Halvetîs form a circle which turns as people step to the left altogether. There might be slight differences among the divisions of the sect but actual form of the "Devranî" is this way. During the "devrân" God's names are repeated (Dhkir) and during the rest poetry is read. To be able to read rituals one must know a lot about music and rhytym. In these rituals percussion instruments like bendir, halîle, kudüm, nevbe are played. Also ney is played during the Dhkir. Halvetîs are the people who contributed most to religious music in Turkey. The same kind of "devranî" ritual is also practiced in the Sünbûli sec. Sûnbûlîs have a special "salât" called "Sünbûli Salât". Another unique characteristic of this subdivision is that in a gathering place (dergâh) in Kocamustafapaşa from 1495 until 1925 (for 430 years) the same psalm was sung every week. The notes of the piece "Safha-i sadrında daim aşılan efkârı Hû" is one of the contents of the thesis. Although the same "devranî" ritual is also practiced among the Şabanîs, they have a special kind of Dhkir called "Darb-ı esma". An axample of "Salât-ı Şerife" of the Nasuhis is included in the thesis. After the Dhkir and music of Cerrahis, Sinanis and Uşşakîs are explained, "Evradı Cerrahiyye" which belongs to the Cerrahis and the way it is read is given as an example. The fourth part of the thesis is on the Halveti composers who could be found out about. A short biography and a list of the works of each composer is included. XHl Throughout centuries groups of people changed the subdivisions they belonged to very frequently. Therefore it is hard to find evidence as to which composer belongs to which subdivision. These composers were studied in these categories: Gûlşenî, Sünbülî, Şabanı, Nasuhî, RaufiY Cerrahî, Sinanî and Mısrî. An example of the works of each composer (if any found) was included in the thesis. This section was continued with information on the famous musicians "zâkirbaşrs and ritual leaders of the sect Most of the these people are thought to be composers too, but this hypothesis hasn't been proven. Most of the religious music is anonymous because of the composers' sufist education. ît is very important to lose one's own identity in the whole universe and become a part of the macrocosmos (God). That's why the composer's name was nothing to the Sufist. Turkish Religious Music is not only the music of Halvetis. All sects are related to each other. For instance the poem written by a Mevlevi was composed by a Celvetî, or a Kadiri hymn is sung in the rituals of the Bayramî sect This kind of cultural relations gone on for centuries and the people who sympathised with different sects were called "muhibbân". Under the title of "Muhibban" a few names were studied. In the last section, it was concluded that music is a very important element of religion. In sects, music's aim is to lead to the Dhkir whether it is "devrân" or "kıyam". Ritual is the reason for music. The music of the sects is the basis for the Turkish music today. The sects' meeting places were the conservatories of today. After the Dhkir and music of Cerrahîs, Sinanîs and Uşşakîs are explained, "Evradı Cerrahiyye" which belongs to the Cerrahis and the way it is read is given as an example. The fourth part of the thesis is on the Halveti composers who could be found out about. A short biography and a list of the works of each composer is included. XIV Throughout centuries groups of people changed the subdivisions they belonged to very frequently. Therefore it is hard to find evidence as to which composer belongs to which subdivision. These composers were studied in these categories: Gülşenî, Sünbülî, Şabanî, Nasuhî, Raufi, Cerrahî, Sinanî abd Mısrî. An example of the works of each composer (if any found) was included in the thesis. This section was continued with information on the famous musicians "zâkirbaşı"s and ritual leaders of the sect Most of the these people are thought to be composers too, but this hypothesis hasn't been proven. Most of the religious music is anonymous because of the composers' sufist education. ît is very important to lose one's own identity in the whole universe and become a part of the macrocosmos (God). That's why the composer's name was nothing to the Sufist. Turkish Religious Music is not only the music of Halvetîs. All sects are related to each other. For instance the poem written by a Mevlevi was composed by a Celvetî, or a Kadiri hymn is sung in the rituals of the Bayramı sect. This kind of cultural relations gone on for centuries and the people who sympathised with different sects were called "muhibbân". Under the title of "Muhibbân" a few names were studied. In the last section, it was concluded that music is a very important element of religion. In sects, music's aim is to lead to the Dhkir whether it is "devrân" or "kıyam". Ritual is the reason for music. The music of the sects is the basis for the Turkish music today. The sects' meeting places were the conservatories of today. en_US
dc.description.degree Yüksek Lisans tr_TR
dc.identifier.uri http://hdl.handle.net/11527/22412
dc.language.iso tr
dc.publisher Sosyal Bilimler Enstitüsü tr_TR
dc.rights Kurumsal arşive yüklenen tüm eserler telif hakkı ile korunmaktadır. Bunlar, bu kaynak üzerinden herhangi bir amaçla görüntülenebilir, ancak yazılı izin alınmadan herhangi bir biçimde yeniden oluşturulması veya dağıtılması yasaklanmıştır. tr_TR
dc.rights All works uploaded to the institutional repository are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. en_US
dc.subject Bestekarlar tr_TR
dc.subject Dini müzik tr_TR
dc.subject Halvetiyye tr_TR
dc.subject Müzik tr_TR
dc.subject Tarikatlar tr_TR
dc.subject Religious orders en_US
dc.subject Music en_US
dc.subject Halvetiyye en_US
dc.subject Religious music en_US
dc.title Halvetilerde musiki tr_TR
dc.type masterThesis tr_TR
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