Çağdaş nitelikte Ulusal Türk Musikisi'nin oluşturulmasıyla ilgili bazı önerile

Abstract

Bu araştırma ve incelemede, müziğin tarihsel gelişimi de göz önünde bulundurularak, Atatürk 'cü düşüncenin ışığında Cağdaş Türk Mûsikîsi 'nin nasıl olması gerektiği konusuna bilimsel bir yaklaşımla açıklık getirilmeye çalışılmıştır. Tez beş bölümden meydana gelmiştir. Birinci bölümde: Konuya giriş yapılmıştır. ikinci bölümde: Cağ ve çağdaşlık kavramları ayrıntılarıyla incelenerek, tarihsel çağların oluşumu ve etkileri de göz önünde bulundurularak; yaşanılan cağa ayak uydurabilme zorunluluğu üzerinde durulmuştur. üçüncü bölümde: Müziğin tarihsel gelişimi göz önünde bulundurularak Doğu ve Batı medeniyetlerinin birbirleriyle olan kültür alış verişlerine açıklık getirilmeye çalışılmıştır. Bunun yanında dini inanışların müzik üzerindeki etkileri ve çok sesli müziğin başlangıç ve gelişim evreleri ayrıntılarıyla incelenmeye çalışılmıştır. Dördüncü bölümde: Atatürk'ün Çağdaş Nitelikte Ulusal Türk Mûsıkîsi'nin oluşturulması konusundaki görüş, çalışma ve uygulamalarına değinilmiştir. Besinci ve son bölümde ise: Çagdaş Nitelikte Ulusal Türk Mûsıkîsi'nin oluşturulmasıyla ilgili gelişmelerin beklenilen düzeye gelememesinin nedenleri tespit edilerek, çözüm yolları için fikirler üretilmeye çalışılmıştır. Sonuç olarak ses sistemi, makam, usul, armoni, notasyon ve müzik. eğitimi konularında yepyeni bir yapılanmaya gidilmesinin gerekliliği ve kaçınılmazlığı ortaya konularak, bu alanda yapılacak yeni çalışmalara ışık tutulmaya çalışılmıştır.

In this study, keeping the historical development of music in mind, the question of how the Contemporary Turkish Music should be was tried to be cloared by a scientific approach. The contents of the first section of our study is; The missionary and revolutionary thought trends starting from the Renaussance in the west has reached its peak in the last 200 years which we call The Contemporary era. Parallel to this, there has been unbelievable developments in science, technology, culture, arts and many other fields. The feudal structure that was ruling the world has diminished one by one, leaving its place to the concepts of equality, freedom and democracy As these concepts started to be applied, the Nationalist and national trends has started to effect all the countries in the world. Nationals schools has started to spread in the fields of Music painting, literature and all of the other fields of art. In our country, the founder of our Republic and the creator of the revolutions, the great leader Atatürk has started the first studies in the formation of Contemporary National Turkish Music, as he did in all the other fields. Whilst there were many developments achieved in the first 20 years of the Republic, it has started to recede in the same speed after the death of Atatürk, On the other hand all the other Western contries have copletely solved this problem in the beginning of the century. Whereas, putting on the shelf and forgetting of such an important problem, without any solutions The low existence currently of these studies; The effects on the puplic of the musical trends which are bad quality, simple and carrying no artistic values; are the main reasons that encouraged us to do a study on this subject. Our purpose is to bring this problem, which is yet to be salved, out in the open and cast a light on the researchers who are wanting to study the subject. VII The share of our study on this subjects is so big that it is not to be belittled, in this study, we have estabilshed the main reasons why the Contemporary National Turkish Music couldn't be formed and made some suggestions. We believe that, if these suggestions are taken seriously, the Turkish Music wiil reach to the place it deserves and have international dimensions. In the second section; We have studied the concepts of Era and Contemporariness and reached to same results. That is to say; Every era lived, brings with it some criterion, values and characteristics in every field of life (Economy, Politics, Education, Culture, Arts, Social e.t.c), it presents itself in such a way that. Sometimes a new technology, sometimes a new philisophical trend, sometimes a scientific event or.likewise, will come in front of us. There is a common and unchangeable destiny of as the live, dead abstract and concrete concepts which exists in the nature. They are all; born, grow, develop, multiply, mature, age and die. The birth and the death are the unescapeable rule of nature. Therefore, the standards and norms that each era carries with it are only valid for that particular era. The effects of these diminish in the later eras and die at the end. We can come to this conclusion from here: Every new born concept or being whilst causing the death of the being or concept that caused it to come alive; each being or concept that dies will definetaly cause some new concept or being to be born. In the lust century that we live in and call the Contemporary era too, there exists some standards and norms that the societies have to obey. These standards and norms carry a great importance in the destinies of the sociery. That is to say, The nations which catch these standards and norms will continue their existence on earth, and the ones which are not able to catch these will be faced with such a bad destiny that they will be under the hegemony of other nations or will cease to exist it is because of these reasons that our ideals should be to carry our national characteristics to the level of these contemporary nations and develop them. After all, that is what Atatürk requires from the Turkish youth. We have studied the Historical development and stages in the third section. Our purpose in doingthis is to study the correctness and origins of the rumours about the Eastern and Western Music and their relationship. We came to the conclusion as a resuit of the studies done that: VIII We observe, in all the human communities me music comes into existence in religions, The voice sequences they have used are so simple and the musical instruments are so primitive that they cannot even be called instruments. The equipments and materials that they used in their daily lives are the bases for the inital musical instruments. For example; The bows and errows that the hunters have used have paved the way for the string instruments in the later periods next to this, the pots and pans which were made out of mud have been the bases and the first examples of the drums it has been established that the rhythm instruments have been invented first for the purpose of accompaniment to the dances and songs and that the melodical instruments have beendeveloped later. We see that the Symmerians have been the first civilization to appear in the stage of History in Mesopotamia The Summerians who have put their mark under a lot of firsts in musical arena, have aiso used a musical writing in their musics. The Summerians also have been the inventer of all the musical instruments that the later civilizations of Arcadians, Babyllonians and Assyrians which have lived in Mesopotamia as well as the Anatolians and Egyptian civilizations. This Musical inheritance which was passed onto the Eoman and Byzantium civilizations, has been developed further and effected the eastern civilizations. We observe that there has not been much differences between the Eastern and Western musics and that as a system a single voiced and tune mode structure was the dominating feature. From the beginning of middle ages, with the effect of the Church too, the search for multisound music had started in the West. As a result of this, the musical systems were coming closer to multisound systems and the tunes and modes used in the past were left and forgotten. The multisound and harmony rules which started to develop especially with the Renaussance, has took its last shape today, after 400 years of evolution. Whilst these developments were taking place in the west, the single sound and tune system musical applications have continued to be applied. As a result of this, the tunes and the lines have overly developed and took its last shape today. This music which effected all of the East along with the effect of Islam, has become the shared music of all the Islamic communities in the end, today, there developed two different musical systems in the world. Western music and Eastern music. Atatürk' s opinions and studies on the Contemporary multisound Turkish music has been given in the fourth section. Atatürk, who is the creator of the revolutions in our country, has also been the creator of IX multisound music in our country. There were two different musical styles in the country in that period On eis the Classical Turkish Music, which addressed to a small minority with its language and style (The Palace Music) and the other is the Turkish Folk Music, which has been suitable for Anatolian peoples life style and feelings with its language and style. Since the qualities of Nationalistic forms and contemporarines has been the main targets in creating the contemporary music, the path to be followed comes into being naturelly That is to say, These melodies wiil be gathered and collected and will be put into a multisound form using the Western Musical techniques, there fore creating a national music form. In the fifth and last section The reasons of not being able to create the Contemporary National Turkish music that was desired to be formed and the solutions in relation to this was pointed out. As a result of our researches we realized that the sources of the problem was not the music itself but the way of thinking. We believe that there would not be any problems in soiving the others if this problem has been soived. The first is the National identity problem and the second is the conservative and traditional way of thinking. What is our National idendity problem? How can we solve it? Is the main reason of our National idendity about our being Turkish or Ottoman? Atatm~k has underlined that our past couldn't be limited to Ottomans and that After the formation of The Republic, the hegemony of The ottomans have ceased. Despite this the Anti-Ottomans no have rebelled against the system have put question, marks into the public's minds. They shall know that Türkiye belongs to the Turkish. Ottomans are a part of our history. The missionary and revolutionary thought trends which have started with the renaussance in the west, Has reached to its peak, which we call the Contemporary era after a 400 years of evolution today in its last period. As a result of this, there have been many unbelievable changes in the fields of Culture, science, technology, education and arts as well as in many other fields. Atatürk was aware of the fact that the main reason for all of these changes in the west was the way of thinking. He too identified himself with this missionary and revolutionary way of thinking and was the creator of the missionary and revolutionary way of thinking in our country. All the values we have today are the work of these thoughts. The main reasons of the ones that we do not have are the conservative and traditional approaches. The ridding of the west from this conservative way of thinking took hundreds of years. But we neither have the intent nor the time to wait for this long. Because of this, if we want to keep in step with the are, we shouldnt forget that we have to do what is necessary. On of these necessities is the problem of music. We want to do what is necessary, but on the other hand we do not want to compromise in same things yet, there is always a cost for some good things. We shouldn't forget the fact that, it we really want these beauties we must pay the cost. We can put the reasons for not being able to create the Contemporary National Turkish Music in this sequence, The problem of the sound system, Tune problem, Rhythm problem, Notation problem, Instrument problem, Education and Method problem, Harmony problem. Our suggestions towards the solution of these problems are: It is not possible to make mult i sound music with the current system of dividing the one 8 system into 24 unequal spaces, Ones who are chasing such an illusion are no more than wasting time. What needs to be done is to make our music comparable to the Tampere (the dividing of on 8 system into 12 egual spaces) what the west have been using. Essentially, after this has been done the other problems will automatically be solved. Here are what we have to do about this subject: Our tunes have to be simplified by rearranging according to this sound system. Likewise our rhythms should be rearranged and simplified. The originality of the notation rules have to be kept. The structures of the traditional Turkish instruments should be changed into a form that is suitable for mult i sound system in addition, The variations from bass to soprano have to be created. Again, the methods of these instruments and our music have to be created Because, it is not possible to perform education without a method. Using the Western Music's harmony rules, a harmony system that shows the characteristics of Turkish Music lines has to be definetaly developed. Consequently a light has been cast on the new studies to be done in this field, by establishing the necessity and inevitability of going into a new structural reform in the areas of the sound system, tune, rhythm, harmony, notation and music education.