Re-reading a Manuscript: Lyrics in Atrabü’l-âsâr

Mustafa Said Dilek; Hüseyin Akpınar

Makale detayları

Re-reading a Manuscript: Lyrics in Atrabü’l-âsâr

Yazarlar:

Mustafa Said Dilek | Hüseyin Akpınar

Yayıncı:

Süleyman Demirel University

Ana Başlıklar:

Türk Musikisi

Dergi:

Süleyman Demirel Üniversitesi İlahiyat Fakültesi Dergisi Issue 54, pp.71-116

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001352551

pISSN:

2602-2346

Anahtar kelimeler:

Özet:

 Tezkire plural form: tezākir, which derives from the root zikr in the dictionary meaning to remember, to recall, means that which is occasional for recollection. Tezkires, which are works regarding the biographies of scholars and poets educated in various branches of knowledge, have similar characteristics with the current biographicalanthological dictionaries in terms of their main qualities. In Ottoman culture, the term tezkire primarily refers to works in the field of literature, but there are many tezkires in the fields of tafsir, hadith, sufism and many other fields. In addition to biographical information, tezkires also provide important insights into the historical background of a field. For this reason, the tradition of writing tezkire has become widespread in our history of knowledge. However, this is not the case for the discipline of music. With the exception of Şeyhulislām Mehmed Esad Efendi, who was born in 1684 in a family of scholars, we do not witness many writers of tezkires on musicians. His work Atrab al-āsār is known as the first tezkire of musicians writers in the Ottoman period. This work of Esad Efendi, which is directly related to music, contains the biographies of approximately one hundred composers who grew up from the 17th century to the first half of the 18th century. Since the day it was written, Atrab al-āsār has been the first and most frequently referenced biographical work as a source for research on the history of Turkish music. There have also been studies regarding the tezkire in the fields of literature and music. These are generally text-centered studies such as publicity, translation and interpretation. Recently, there are also limited number of studies conducted in terms of music sociology, historical musicology, and cultural musicology by analyzing the information, connections between people, and intertextual clues in Atrab al-āsār. This article, on the other hand, aims to read Atrab al-āsār from a different perspective than previous studies. In addition to composer biographies, Atrab al-āsār also contains examples of compositions by each composer. These compositions are usually in the form of sharing two verses of the lyrics by providing maqam, metrical cycles and genre information. Therefore, although Atrab al-āsār cannot be characterized as an independent lyrics collection, it can be said that it is a collection that has the characteristics of a lyrics collection. In fact, we see lyrics collections formed only of lyrics quite late in the history of music. Thus, as of the period in which Atrab al-āsār was written, a lyrics collection is like a notebook containing multiple sets of information such as verses, hadiths, fatwas, prayers, sermons, poems, hymns, songs, letters, witty anecdotes, medicine recipes, important dates, and useful information. When these come together and form a cem gathering, they constitute a mecmua. Our study aims to reveal the lyrics in it and to make a new reading by commenting on them, by emphasizing this very aspect of Atrab al-āsār. There are many copies of Atrab al-āsār in libraries. Some of these copies, which are not the authors own copies, have received some additions later on. For this reason, the number of composers varies: 96 in some, 97 in others, and 98 in others. The same is the case with the lyrics. It is assumed that there are 164 lyrics in some, 167 in others, and more in others. According to the results we have reached from the copies numbered 6204 and 1739 in the Istanbul University Library of Rare Works, Turkish Manuscripts, there are 98 composers and 167 lyrics with maqam, metrical cycles and genre information when Reşid Çelebi is included. As a result, 167 lyrics composed in 33 different maqams and 24 different metrical cycles by 98 composers were identified in this study. The research, in which the author and the content of the mecmua will also be analyzed and will be studied in this direction. All of these lyrics along with the other information they contain will be presented in a table at the end of the study as an appendix.

 Tezkire plural form: tezākir, which derives from the root zikr in the dictionary meaning to remember, to recall, means that which is occasional for recollection. Tezkires, which are works regarding the biographies of scholars and poets educated in various branches of knowledge, have similar characteristics with the current biographicalanthological dictionaries in terms of their main qualities. In Ottoman culture, the term tezkire primarily refers to works in the field of literature, but there are many tezkires in the fields of tafsir, hadith, sufism and many other fields. In addition to biographical information, tezkires also provide important insights into the historical background of a field. For this reason, the tradition of writing tezkire has become widespread in our history of knowledge. However, this is not the case for the discipline of music. With the exception of Şeyhulislām Mehmed Esad Efendi, who was born in 1684 in a family of scholars, we do not witness many writers of tezkires on musicians. His work Atrab al-āsār is known as the first tezkire of musicians writers in the Ottoman period. This work of Esad Efendi, which is directly related to music, contains the biographies of approximately one hundred composers who grew up from the 17th century to the first half of the 18th century. Since the day it was written, Atrab al-āsār has been the first and most frequently referenced biographical work as a source for research on the history of Turkish music. There have also been studies regarding the tezkire in the fields of literature and music. These are generally text-centered studies such as publicity, translation and interpretation. Recently, there are also limited number of studies conducted in terms of music sociology, historical musicology, and cultural musicology by analyzing the information, connections between people, and intertextual clues in Atrab al-āsār. This article, on the other hand, aims to read Atrab al-āsār from a different perspective than previous studies. In addition to composer biographies, Atrab al-āsār also contains examples of compositions by each composer. These compositions are usually in the form of sharing two verses of the lyrics by providing maqam, metrical cycles and genre information. Therefore, although Atrab al-āsār cannot be characterized as an independent lyrics collection, it can be said that it is a collection that has the characteristics of a lyrics collection. In fact, we see lyrics collections formed only of lyrics quite late in the history of music. Thus, as of the period in which Atrab al-āsār was written, a lyrics collection is like a notebook containing multiple sets of information such as verses, hadiths, fatwas, prayers, sermons, poems, hymns, songs, letters, witty anecdotes, medicine recipes, important dates, and useful information. When these come together and form a cem gathering, they constitute a mecmua. Our study aims to reveal the lyrics in it and to make a new reading by commenting on them, by emphasizing this very aspect of Atrab al-āsār. There are many copies of Atrab al-āsār in libraries. Some of these copies, which are not the authors own copies, have received some additions later on. For this reason, the number of composers varies: 96 in some, 97 in others, and 98 in others. The same is the case with the lyrics. It is assumed that there are 164 lyrics in some, 167 in others, and more in others. According to the results we have reached from the copies numbered 6204 and 1739 in the Istanbul University Library of Rare Works, Turkish Manuscripts, there are 98 composers and 167 lyrics with maqam, metrical cycles and genre information when Reşid Çelebi is included. As a result, 167 lyrics composed in 33 different maqams and 24 different metrical cycles by 98 composers were identified in this study. The research, in which the author and the content of the mecmua will also be analyzed and will be studied in this direction. All of these lyrics along with the other information they contain will be presented in a table at the end of the study as an appendix.

 Tezkire plural form: tezākir, which derives from the root zikr in the dictionary meaning to remember, to recall, means that which is occasional for recollection. Tezkires, which are works regarding the biographies of scholars and poets educated in various branches of knowledge, have similar characteristics with the current biographicalanthological dictionaries in terms of their main qualities. In Ottoman culture, the term tezkire primarily refers to works in the field of literature, but there are many tezkires in the fields of tafsir, hadith, sufism and many other fields. In addition to biographical information, tezkires also provide important insights into the historical background of a field. For this reason, the tradition of writing tezkire has become widespread in our history of knowledge. However, this is not the case for the discipline of music. With the exception of Şeyhulislām Mehmed Esad Efendi, who was born in 1684 in a family of scholars, we do not witness many writers of tezkires on musicians. His work Atrab al-āsār is known as the first tezkire of musicians writers in the Ottoman period. This work of Esad Efendi, which is directly related to music, contains the biographies of approximately one hundred composers who grew up from the 17th century to the first half of the 18th century. Since the day it was written, Atrab al-āsār has been the first and most frequently referenced biographical work as a source for research on the history of Turkish music. There have also been studies regarding the tezkire in the fields of literature and music. These are generally text-centered studies such as publicity, translation and interpretation. Recently, there are also limited number of studies conducted in terms of music sociology, historical musicology, and cultural musicology by analyzing the information, connections between people, and intertextual clues in Atrab al-āsār. This article, on the other hand, aims to read Atrab al-āsār from a different perspective than previous studies. In addition to composer biographies, Atrab al-āsār also contains examples of compositions by each composer. These compositions are usually in the form of sharing two verses of the lyrics by providing maqam, metrical cycles and genre information. Therefore, although Atrab al-āsār cannot be characterized as an independent lyrics collection, it can be said that it is a collection that has the characteristics of a lyrics collection. In fact, we see lyrics collections formed only of lyrics quite late in the history of music. Thus, as of the period in which Atrab al-āsār was written, a lyrics collection is like a notebook containing multiple sets of information such as verses, hadiths, fatwas, prayers, sermons, poems, hymns, songs, letters, witty anecdotes, medicine recipes, important dates, and useful information. When these come together and form a cem gathering, they constitute a mecmua. Our study aims to reveal the lyrics in it and to make a new reading by commenting on them, by emphasizing this very aspect of Atrab al-āsār. There are many copies of Atrab al-āsār in libraries. Some of these copies, which are not the authors own copies, have received some additions later on. For this reason, the number of composers varies: 96 in some, 97 in others, and 98 in others. The same is the case with the lyrics. It is assumed that there are 164 lyrics in some, 167 in others, and more in others. According to the results we have reached from the copies numbered 6204 and 1739 in the Istanbul University Library of Rare Works, Turkish Manuscripts, there are 98 composers and 167 lyrics with maqam, metrical cycles and genre information when Reşid Çelebi is included. As a result, 167 lyrics composed in 33 different maqams and 24 different metrical cycles by 98 composers were identified in this study. The research, in which the author and the content of the mecmua will also be analyzed and will be studied in this direction. All of these lyrics along with the other information they contain will be presented in a table at the end of the study as an appendix.

 Sözlükte anmak, hatırlamak manasındaki zikr kökünden türeyen tezkire çoğulu tezâkir hatırlamaya vesile olan şey demektir. Çeşitli ilim dallarında yetişmiş âlimler ve şairlerin biyografilerine dair eserler olan tezkireler esas nitelikleri bakımından günümüzdeki biyografikantolojik sözlüklere benzer özelliklere sahiptir. Osmanlı kültüründe tezkire denildiğinde öncelikle edebiyat sahasındaki eserler anlaşılsa da tefsir, hadis, tasavvuf ve daha birçok alanda pek fazla tezkire mevcuttur. Tezkireler biyografik bilgilerin yanı sıra o alanın tarihi gelişimi açısından da önemli veriler sunmaktadır. Bu nedenle ilim tarihimizde tezkire yazma geleneği yaygınlaşmıştır. Ancak mûsikî disiplini açısından durum böyle değildir. İlmiyeye mensup bir ailede 1684 tarihinde dünyaya gelen Şeyhülislâm Mehmed Esad Efendi haricinde mûsikîşinaslarla alakalı tezkire yazarına pek şahit olamıyoruz. Onun Atrabül-âsâr fî tezkireti urefâil-edvâr adlı eseri, Osmanlı döneminde yazılan ilk mûsikîşinaslar tezkiresi olarak bilinmektedir. Esad Efendinin mûsikî ile doğrudan alakalı bu eseri, 12. asırdan 13. asrın ilk yarısına kadar yetişen yaklaşık yüz bestekârın biyografisini içermektedir. Atrabül-âsâr yazıldığı günden itibaren Türk mûsikîsi tarihi araştırmalarında kaynak olarak en başta ve en sık müracaat edilen biyografik eserdir. Ayrıca tezkire hakkında da edebiyat ve mûsikî alanlarında çalışmalar yapılmıştır. Bunlar genelde tanıtım, çeviri ve tercüme gibi metin merkezli araştırmalardır. Son dönemlerde Atrabül-âsârdaki bilgilerin, kişiler arasındaki bağlantıların, metin arası ipuçlarının irdelenmesiyle müzik sosyolojisi, tarihi müzikoloji, kültürel müzikoloji yönünden yapılan az sayıda inceleme de mevcuttur. Bu makale ise Atrabül-âsârı önceki çalışmalardan farklı bir bakış açısıyla okumayı amaçlamaktadır. Atrabül-âsârda bestekâr biyografilerinin yanı sıra her bestekâra ait beste örneği de kaydedilmiştir. Bu besteler makam, usûl ve tür bilgisi verilerek güftenin genellikle iki mısraının paylaşılması şeklindedir. Dolayısıyla Atrabül-âsâr her ne kadar müstakil bir güfte mecmuası olarak nitelendirilemese de güfte derlemesi niteliği taşıyan bir mecmuadır denilebilir. Esasen sadece güftelerden müteşekkil güfte mecmualarını mûsikî tarihimizde epey geç dönemlerde görmekteyiz. Yani Atrabül-âsârın yazıldığı dönem itibariyle bir güfte mecmuası âyetler, hadisler, fetvalar, dualar, hutbeler, şiirler, ilâhîler, şarkılar, mektuplar, latifeler, ilaç tarifleri, önemli tarihler ve faydalı bilgilerin derlendiği çoklu bilgi kümesi içeren bir not defteri gibidir. Bunların bir araya gelip cem  olması mecmuayı oluşturmaktadır. Demek ki Atrabül-âsâr yazıldığı dönem itibarıyla biyografik bir güfte mecmuası şeklinde değerlendirilebilir. İşte çalışmamız Atrabül-âsârın bu yönüne vurgu yaparak içerisindeki güfteleri açığa çıkarmayı ve üzerine yorumlarda bulunarak yeni bir okuma yapmayı amaçlamaktadır. Atrabül-âsârın kütüphanelerde çok sayıda yazma nüshası vardır. Müellif nüshası olmayan bu yazmaların bazılarına sonradan ilaveler yapılmıştır. Bestekâr sayıları bu yüzden bir kısmında 96, bir kısmında 97, diğer bir kısmında ise 98 olmak üzere farklılık göstermektedir. Güfteler açısından da aynı durum söz konusudur. Bazısında 164, bazısında 167, diğer bazısında ise daha fazla güfte olduğu varsayılmaktadır. Çalışmamızda esas aldığımız İstanbul Üniversitesi Nadir Eserler Kütüphanesi Türkçe Yazmalar 6204 ve 1739 numaralı nüshalardan ulaştığımız neticeye göre Reşid Çelebiyi de dahil edince mecmuada 98 bestekâr ve makam, usûl, tür bilgisi verilen 167 güfte bulunmaktadır. Neticede çalışmada 98 bestekâra ait 33 farklı makam ve 24 ayrı usûlde bestelenmiş 167 güfte tespit edilmiştir. Mecmuanın yazarı ve muhteviyatının da analiz edileceği araştırma bu doğrultuda ele alınıp işlenmiştir. Bu güftelerin tamamı barındırdığı diğer bilgilerle tablo halinde çalışmanın sonunda ek olarak sunulmuştur.

Makale detayları

Re-reading a Manuscript: Lyrics in Atrabü’l-âsâr

Yazarlar:

Mustafa Said Dilek | Hüseyin Akpınar

Yayıncı:

Süleyman Demirel University

Ana Başlıklar:

Türk Musikisi

Dergi:

Süleyman Demirel Üniversitesi İlahiyat Fakültesi Dergisi Issue 54, pp.71-116

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001352551

pISSN:

2602-2346

Lyrics collection

Es'ad Efendi

Atrab al-āsār

Tezkire

MecmuaGüfte mecmuası

Es’ad Efendi

Mecmua

Tezkire

Atrabü’l-âsâr

Sayı

Makale detayları

Yazarlar: Mustafa Said Dilek | Hüseyin Akpınar

Yayıncı: Süleyman Demirel University

Ana Başlıklar: Türk Musikisi

Dergi: Süleyman Demirel Üniversitesi İlahiyat Fakültesi Dergisi Issue 54, pp.71-116

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001352551

pISSN: 2602-2346

Sayı

Yazarlar:

Mustafa Said Dilek | Hüseyin Akpınar

Yayıncı:

Süleyman Demirel University

Ana Başlıklar:

Türk Musikisi

Dergi:

Süleyman Demirel Üniversitesi İlahiyat Fakültesi Dergisi Issue 54, pp.71-116

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001352551

pISSN:

2602-2346