Publication: Hızır Bin Abdullah’ ın kitabü’ l- edvar’ ı ve makamların incelenmesi
Abstract
IX. yüzyıldan bu yana müziğin nazarî yönü pek çok müzisyenin ilgisini çekmiş, Edvâr adı altında birçok eser yazılmıştır. Notanın kullanılmadığı bir dönemde kaleme alınan bu edvârlar, o dönemin müziği hakkında kaynak teşkil etmeleri bakımından önemlidirler. Bu eserlere edvâr denmesinin sebebi makamların ve usûllerin dâirelerle açıklanmasından dolayıdır. Hızır bin Abdullah, Kitâbü'l-Edvâr'ı XV. yy.'ın ilk yarısında yazmıştır. Eserin yurt içi ve yurt dışında çeşitli kütüphânelerde bulunan nüshalarının mikrofilmleri elde edilerek üzerinde edisyon kritik çalışması yapılmıştır. Hızır bin Abdullah'ın Kitâbü'l-Edvâr'ının incelenmesi sonucu eserin muhteviyâtı bakımından geleneksel edvâr kalıplarının dışına çıktığı tesbit edilmiş, edvârda, astronomi ile ilgili konulara geniş yer verildiği, yıldızlar ve burçlar ile makamlar arasında bağlantılar kurulduğu görülmüştür. Yüzyıllar boyunca Türk mûsikîsinde pek çok makam ve terkib ortaya koyulmuş, bunlardan bazıları unutulmuş, bazıları isim değiştirerek ya da hiçbir değişikliğe uğramadan günümüze ulaşmıştır. Edvârlarda devirler âvâze, şu'be ve terkib adları altında tasnif edilmiş ve bugün bunların tümü makam adı altında toplanmıştır. XV. yy. içinde dahi makam isimlerinde, dizilerinde ve karar seslerinde teorisyenlere göre farklılıklar olduğu dikkat çekicidir. Kitâbü'l-Edvâr'da kayıtlı olan bazı makamların aynı dizi ile günümüze ulaşmayı başardıkları görülür. Hızır bin Abdullah tarafından makamlara âvâzelerin ve âvâzelere makamların eklenmesi sonucu 144 yeni terkib ortaya koyulmuştur. Kitâbü'l-Edvâr'daki makamların aynı yüzyılda yazılmış diğer edvârlar ile karşılaştırılarak incelenmesi sonucu XV. yy. Türk Mûsikîsi'nde kullanılan makamlar hakkında günümüz teorisyenleri ve icracılarına faydalı olabilecek bilgiler edinmiş bulunuyoruz. Daha sonraki yüzyıllarda terkib edilmiş makamların da araştırılması ile Türk Mûsikîsi'nde bestecisi bilinmeyen eserlerin hangi yüzyıllarda bestelenmiş olabileceği konusu gün ışığına çıkarılabilecektir.
HIZIR BIN ABDULLAH'S KITABÜ'L-EDVAR and EXAMINATION OF TONALITIES Since the 9th Century, the theoretical aspect of music has attracted the attention of many musicians and many works called Edvar have been written. These Edvars written in times when scores were not yet used are important for being sources about the music of the time. The reason these works were called Edvar was due to the tonality (makam) and rhythms (usul) being explained with cycles. Hızır bin Abdullah wrote Kitabü'l-Edvar in the first half of the 15th Century. The microfilms of the work's copies in Turkey and in foreign countries have been obtained and critic edition researches on it have been carried out. After the examination of Hızır bin Abdullah's Kitabü'l-Edvar, it was understood that the work exceeded the traditional edvar models in terms of content, and was been seen that the edvar contained detailed information on astronomy, and that connections were made between stars, the zodiac and tonality. Many tonalities and integrated tonalities have been established in the Turkish music for centuries. Some of these have been forgotten and some have reached the present day by changing names or without suffering any changes. Cycles in Edvars have been classified under names such as avaze, şu'be and terkib and all of these have been gathered today under the name tonality. It is interesting to see that even in the 15th Century there were differences in the tonality names, scales and a return to the original mode; between theoreticians. It can be seen that some tonalities recorded in Kitabü'l- Edvar have reached the present day with the same scale. By the addition of avazes to tonalities and tonalities to avazes by Hızır bin Abdullah, 144 new integrated tonalities have been created. By examining the tonalities in Kitabü'l-Edvar by comparing them with other edvars written in the same century, we have obtained information on the tonalities used in the 15th Century Turkish Music which may be of use to present theoreticians and performers. By carrying out researches on the tonalities constituted in the following centuries, the determination of the composition date of works with anonymous compositors in Turkish music shall be possible.
HIZIR BIN ABDULLAH'S KITABÜ'L-EDVAR and EXAMINATION OF TONALITIES Since the 9th Century, the theoretical aspect of music has attracted the attention of many musicians and many works called Edvar have been written. These Edvars written in times when scores were not yet used are important for being sources about the music of the time. The reason these works were called Edvar was due to the tonality (makam) and rhythms (usul) being explained with cycles. Hızır bin Abdullah wrote Kitabü'l-Edvar in the first half of the 15th Century. The microfilms of the work's copies in Turkey and in foreign countries have been obtained and critic edition researches on it have been carried out. After the examination of Hızır bin Abdullah's Kitabü'l-Edvar, it was understood that the work exceeded the traditional edvar models in terms of content, and was been seen that the edvar contained detailed information on astronomy, and that connections were made between stars, the zodiac and tonality. Many tonalities and integrated tonalities have been established in the Turkish music for centuries. Some of these have been forgotten and some have reached the present day by changing names or without suffering any changes. Cycles in Edvars have been classified under names such as avaze, şu'be and terkib and all of these have been gathered today under the name tonality. It is interesting to see that even in the 15th Century there were differences in the tonality names, scales and a return to the original mode; between theoreticians. It can be seen that some tonalities recorded in Kitabü'l- Edvar have reached the present day with the same scale. By the addition of avazes to tonalities and tonalities to avazes by Hızır bin Abdullah, 144 new integrated tonalities have been created. By examining the tonalities in Kitabü'l-Edvar by comparing them with other edvars written in the same century, we have obtained information on the tonalities used in the 15th Century Turkish Music which may be of use to present theoreticians and performers. By carrying out researches on the tonalities constituted in the following centuries, the determination of the composition date of works with anonymous compositors in Turkish music shall be possible.