Publication: XIX. yüzyılda bestelenmiş mevlevi ayinlerinin müzikal analizi: II. cilt
Abstract
TEZ ÖZETİ “19. Yüzyıl’da Bestelenmiş Mevlevî Âyinlerinin Müzikal Analizi” adlı sonuçtan oluşmaktadır. Giriş bölümünde, Mevlevîliğe ait müzikle bağlantılı kelimeler açıklanmaktadır. Sonrasında, Mevlevî Âyini icrası ve tarihî gelişimi hakkında bilgi verildi. Birinci bölümde, Mevlevî Âyîn-i Şerîfi üzerinde durulup, form analizi, güfte, usûl, makam ve beste özellikleri hakkında verildi. İkinci bölümde 19. yüzyılda bestelenmiş Mevlevî Âyinlerinin müzikal analizi yapıldı. Bu bölümde her âyin notası ve güftesiyle birlikte verilerek, form, makam ve usûl analizleri yapıldı. Ayrıca, usûl-vezin şemaları oluşturuldu ve ele alınan âyinlerin bestecileri hakkında verildi. 19. Yüzyılda kırkaltı âyinin bestelendiği saptandı. Fakat bunların yirmibeş adedine ulaşılabilindi. Bu yüzyılda âyin besteciliği adeta doruğa ulaşmıştır. Bu dönemde yer alan bestecilerin, gerek bestecilik gerekse müzikoloji açısından önemleri büyüktür. Bu şahsiyetler, mevlevîlerle birlikte diğer müzisyenleri de etkilemişlerdir. Besteledikleri âyinler, Klâsik Türk Mûsikîsi’nin en güzide eserlerindendir.
The dissertation, ‘The Musical Analysis of the Composed Mevlevî Ceremonies in the 19th Century’ consists of an introduction, two chapters and a conclusion. In the introduction, musical vocabulary used in the Mevlevî circles were interpreted. Then the rendition of Mevlevî ceremony and about its historical development is related. The first chapter focuses on the Mevlevî sacred ceremony, provides general analysis of its form, text of music, the rhythm, the musical mode, the composition and their properties. In the second chapter, The Musical Analysis of the Composed Mevlevî Ceremonies in the19th century was studied and commented. In this chapter, every ceremony was presented with its note and text of music and its analysis of form, mode and rhythm were commented. Furthermore, rhythm-meter diagrams were composed and information about composer of discussed ceremonies is provided. In the 19th century, I identified 46 composed ceremonies. But, I was able to reach 25 pieces of them. In this century, the composition of ceremony peaked. The composers in this period are notable with regard to musicology as well as composition. These composers impressed the Mevlevî people and other musicians. These ceremonies which they composed are privileged works.
The dissertation, ‘The Musical Analysis of the Composed Mevlevî Ceremonies in the 19th Century’ consists of an introduction, two chapters and a conclusion. In the introduction, musical vocabulary used in the Mevlevî circles were interpreted. Then the rendition of Mevlevî ceremony and about its historical development is related. The first chapter focuses on the Mevlevî sacred ceremony, provides general analysis of its form, text of music, the rhythm, the musical mode, the composition and their properties. In the second chapter, The Musical Analysis of the Composed Mevlevî Ceremonies in the19th century was studied and commented. In this chapter, every ceremony was presented with its note and text of music and its analysis of form, mode and rhythm were commented. Furthermore, rhythm-meter diagrams were composed and information about composer of discussed ceremonies is provided. In the 19th century, I identified 46 composed ceremonies. But, I was able to reach 25 pieces of them. In this century, the composition of ceremony peaked. The composers in this period are notable with regard to musicology as well as composition. These composers impressed the Mevlevî people and other musicians. These ceremonies which they composed are privileged works.