Written description of the Segah makam by Tanburi Cemil Bey

Ferhat Çaylı

Makale detayları

Written description of the Segah makam by Tanburi Cemil Bey

Yazarlar:

Ferhat Çaylı

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 23, pp.247-268

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001309101

pISSN:

2651-4818

Anahtar kelimeler:

Özet:

 In his music theory book Rehberi Musiki Music Guide, the first edition of which was published in 1905 Rumi 1321, Tanburi Cemil Bey gave a brief description of the Segah makam. The aim of this study is to scrutinize this description and analyze it in its historical context. For this purpose, first of all, the historical evolution of the Segah makam was pointed out and it was determined which stage of this evolutionary process the makam description given by Cemil Bey corresponds to historically. Then, the notation system Cemil Bey used in Rehberi Musiki and the way he handled the concept of perde were examined. In light of these data, the description of the Segah makam was analyzed within the framework of the theoretical approach he used for makam descriptions in his book. As a result, it was seen that there is a difference between the scale given by Cemil Bey for the Segah makam and the scale accepted in contemporary Arel-Ezgi system. Furthermore, as a unique aspect of his description of the maqam Segah, Cemil Bey pointed out the use of two non-scale tones one of which can be interpreted as Dik Acem and the other as Nim Hisar, especially in the closing zone of the seyir. The use of Dik Acem, which is not found in any other written source, seems to be the most original detail of Cemil Beys description of the Segah makam.

 In his music theory book Rehberi Musiki Music Guide, the first edition of which was published in 1905 Rumi 1321, Tanburi Cemil Bey gave a brief description of the Segah makam. The aim of this study is to scrutinize this description and analyze it in its historical context. For this purpose, first of all, the historical evolution of the Segah makam was pointed out and it was determined which stage of this evolutionary process the makam description given by Cemil Bey corresponds to historically. Then, the notation system Cemil Bey used in Rehberi Musiki and the way he handled the concept of perde were examined. In light of these data, the description of the Segah makam was analyzed within the framework of the theoretical approach he used for makam descriptions in his book. As a result, it was seen that there is a difference between the scale given by Cemil Bey for the Segah makam and the scale accepted in contemporary Arel-Ezgi system. Furthermore, as a unique aspect of his description of the maqam Segah, Cemil Bey pointed out the use of two non-scale tones one of which can be interpreted as Dik Acem and the other as Nim Hisar, especially in the closing zone of the seyir. The use of Dik Acem, which is not found in any other written source, seems to be the most original detail of Cemil Beys description of the Segah makam.

 In his music theory book Rehberi Musiki Music Guide, the first edition of which was published in 1905 Rumi 1321, Tanburi Cemil Bey gave a brief description of the Segah makam. The aim of this study is to scrutinize this description and analyze it in its historical context. For this purpose, first of all, the historical evolution of the Segah makam was pointed out and it was determined which stage of this evolutionary process the makam description given by Cemil Bey corresponds to historically. Then, the notation system Cemil Bey used in Rehberi Musiki and the way he handled the concept of perde were examined. In light of these data, the description of the Segah makam was analyzed within the framework of the theoretical approach he used for makam descriptions in his book. As a result, it was seen that there is a difference between the scale given by Cemil Bey for the Segah makam and the scale accepted in contemporary Arel-Ezgi system. Furthermore, as a unique aspect of his description of the maqam Segah, Cemil Bey pointed out the use of two non-scale tones one of which can be interpreted as Dik Acem and the other as Nim Hisar, especially in the closing zone of the seyir. The use of Dik Acem, which is not found in any other written source, seems to be the most original detail of Cemil Beys description of the Segah makam.

 Tanburi Cemil Bey, ilk baskısı 1905 Rumi 1321 yılında yayımlanan Rehber-i Mûsıkî başlıklı nazariyat kitabında Segâh makamının kısa bir tarifini yapmış ve eser örneği olarak da Tanburi Osman Beyin Segâh Peşrevinin notasını vermiştir. Bu çalışmanın amacı, Segâh makamı hakkında Cemil Beyin yazdığı tarifi mercek altına alıp tarihsel bağlamı içinde incelemektir. Makalede öncelikle Segah makamının tarihsel değişim aşamalarına işaret edilmiş ve Cemil Beyin verdiği tarifin, bu aşamaların neresinde yer aldığı belirtilmiştir. Ardından söz konusu tarif, kitap boyunca kullanılmış olan perde anlayışı, notasyon sistemi ve makam anlatım yöntemi bağlamında incelenerek tartışılmıştır. Bu incelemelerde, Segah makamı için Cemil Beyin verdiği dizi ile günümüz Arel-Ezgi sisteminde kabul edilen dizi arasındaki farklılığın nedenleri yorumlanmış; ayrıca, Cemil Beyin, özellikle makam seyrinin karar bölgesinde kullanıldığından bahsettiği, biri dik acem öbürü de nim hisar olarak değerlendirilebilecek iki adet dizi-dışı perdenin kullanımına ilişkin örnekler hem diğer teori eserleri üzerinden hem repertuardaki eser notaları üzerinden hem de Cemil Beyin taksim kayıtları üzerinden araştırılmıştır. Cemil Beyin, başka hiçbir yazılı kaynakta veya herhangi bir eser notasında örneğine rastlanmadığı için icracılık alanında saklı bir uygulama olarak değerlendirilebilecek dik acem perdesi kullanımı hakkında yazılı bilgi vermiş olması, Rehber-i Mûsıkî kitabında yer alan Segah makamı tarifinin en özgün yanı olarak karşımıza çıkmaktadır.

Makale detayları

Written description of the Segah makam by Tanburi Cemil Bey

Yazarlar:

Ferhat Çaylı

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 23, pp.247-268

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001309101

pISSN:

2651-4818

Tanburi Cemil Bey

Rehberi Musiki

Segah makam

history of the theory of makam musicTanburi Cemil Bey

Rehber-i Mûsıkî

Segâh makamı

makamsal müzik teorisi tarihi

Sayı

Makale detayları

Yazarlar: Ferhat Çaylı

Yayıncı: Ege University

Ana Başlıklar: Müzik

Dergi: Eurasian Journal of Music and Dance Issue 23, pp.247-268

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001309101

pISSN: 2651-4818

Sayı

Yazarlar:

Ferhat Çaylı

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 23, pp.247-268

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001309101

pISSN:

2651-4818