Analysis of the Hafız Bekir Sıdkı Sezgin's Qur'an-i Kerim Recitation according to Maqam Styles

Esra Yılmaz

Makale detayları

Analysis of the Hafız Bekir Sıdkı Sezgin's Qur'an-i Kerim Recitation according to Maqam Styles

Yazarlar:

Esra Yılmaz

Yayıncı:

Fırat University

Ana Başlıklar:

Dini Musiki | Kuran-ı Kerim Okuma ve Kıraat

Dergi:

Fırat Üniversitesi İlahiyat Fakültesi Dergisi Vol.28 Issue 2, pp.205-218

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001307744

pISSN:

1304-639X

Anahtar kelimeler:

Özet:

 As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Quran are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal permissible or haram prohibited. Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf Islamic Mysticism, also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music also known as Tasawwuf Music. Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Quran recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Quran is recited according to the Maqam Melodic modes of recitation requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Quran and the scientific understanding of music. When a connection between the Quran and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name Fem-i Muhsin. Hafız a title used for a person who has memorised the Quran in its entirety Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Quran education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Quran education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Quran to a degree of perfection and was proud of being a Hafız, where he believed that the Quran harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Quran according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Quran recitation, Hafız Bekir was able to take the listeners on a spiritual journey. A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Quran recitation according to the Istanbul Maqam style. In this study, Hafız Bekirs dual identity as both a musician and Quran Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Quran education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties.

 Tarih boyunca mûsikî birçok alanda insanlar tarafından kullanılmaktadır. Mûsikî insanoğlunun duygu ve düşüncelerini ifade ettiği araçlardan biridir. Müzik dini duyguları ifade etme, eğitim aracı olarak faydalanma, askeri bandolarda kahramanlık duygularını coşturma, neşeli ve hüzünlü günlerde duyguları ifade etme vasıtası olarak görülmektedir. Müzik özellikle din kökenli ritüelle doğmuş ve şekillenmiştir. İslam dininin yayılışıyla beraber tartışmalara zemin hazırlayan bir mesele olmuştur. Açıkça ifade etmek gerekir ki Kurânda bu konuya kaynak gösterilen birçok ayet vardır. Ancak bu ayetlerden helal ya da haram olduğu hükmünü çıkarmak çok zordur. Aslında, İslam dininde helal olan birçok hususun dahi, kötü amaçla ve maksadının dışında kullanıldığı zaman haram olacağı açıktır. Eğer her şeyin kötüye kullanılacağı ihtimalini düşünerek haram olduğu kanaatine varacak olursak, o zaman Allahın bize dünyada verdiği birçok nimeti inkâr yoluna gitmiş oluruz. Kötüye kullanılabilir düşüncesiyle bazı konularda kısıtlama yapmak, başkalarını da bu nimetlerden mahrum bırakmak doğru olmamaktadır. İslam dini açısından zaman zaman helal haram tartışmaları içinde konu edilmişse de tasavvuf ile uğraşanlar tarafından müzik, ruha gıda olarak görülmüştür. Bu bağlamda asırlarca süre gelen zaman içinde mutasavvıflar, müziği ibadetlerinin içine sokarak dini duyguları coşturma amaçlı kullanmışlardır. Dini mûsikî ikiye ayrılmaktadır. Birincisi cami mûsikîsi, ikincisi de tekke mûsikîsidir. Cami mûsikîsi formları enstrüman olmadan sadece sesle ve irtilaci bir şekilde icra edilmektedir. Tekke mûsikîsi formları ise enstrüman ile yapılır ve okunan parça bestelenir. Cami mûsikîsi formu olan Kurân tilâveti de kurallarına uygun olarak okunduğunda kendi içinde doğal bir fonetiğe sahiptir. Dolayısıyla Kurân tilâveti makamsal olarak izlenen seyri içinde okunduğu zaman dinleyenlere manevi duygular yaşatmaktadır. Bu bağlamda Kurân tilâveti ve mûsikî ilmi arasında bağlantı vardır. Bu bağlantı fem-i muhsin dediğimiz alanında uzman kişilerce kurulduğu zaman tilâvet sanatsal bir duyuma sebebiyet vermektedir. Hafız Bekir Sıdkı Sezgin Türk mûsikîsine damga vurmuş ve ekol olmuş önemli mûsikîşinâslardan biridir. Türk mûsikîsine verdiği değer neticesinde ciddi bir duruşa sahiptir. Bekir Sıdkı yetiştirdiği sayısı belli olmayan öğrenci ile Türk mûsikîsinde önder isimlerden olmuştur. Bekir Sıdkı Sezgin, mûsikî ilminde bu denli başarılı olmasını küçük yaşlarda aldığı Kurân eğitimine borçlu olduğunu bizzat röportajlarında ifade etmektedir. Özellikle iyi bir mûsikîşinâs olma yolunda gidenlerin Kurân eğitimini mutlaka almaları gerektiğini örneklerle açıklamaktadır. Çünkü klasik Türk mûsikîsi güfteleri Arapça ve Farsçadır. Bu güfteleri doğru telaffuz etmenin yolu Osmanlıcayı iyi bir şekilde bilmekten geçtiğini savunmaktadır. Hafız olmasıyla övünen Sezgin Kurânı Kerîmi de kâmil derecede tilâvet etmektedir. Kurân hafızlığını ve mükemmel derecede olan mûsikî bilgisini harmanlamıştır. Sezgin İstanbul tavrı Kurân-ı Kerîm tilâvetini usulüne uygun şekilde tilâvet etmektedir. Kurân tilâvetine yakışan makamları kullanan Sezgin, dinleyenleri manevi bir yolculuğa çıkarmaktadır. Alanda yapılan çalışmalara baktığımızda Sezgin hakkında birçok tez, makale ve röportaj olduğunu görmekteyiz. Fakat İstanbul tavrı okuduğu Kurân tilâveti hakkında hususi bir çalışmaya rastlanmamaktadır. Bu çalışmamızda Hafız Bekir Sıdkı Sezginin mûsikîşinâs olmasının yanı sıra Kurân hafızı kimliği öne çıkarılmaktadır. Sezginin bu yönünü ortaya çıkarılarak yetiştirdiği öğrencilerine tavsiye ettiği Kurân eğitimi kendi röportajları ele alınarak incelenerek alana katkı sağlamaya çalışılmaktadır. Bekir Sıdkı Sezginin İstanbul tavrı tilâvet ettiği Âli İmrân Sûresi 189-194 ayetleri arası kırâati Mus nota yazım sistemiyle notaya alınarak makamsal analizi yapılmaktadır. Notasyon alanın uzman kişilerin desteği ile duyuma dayalı olarak şekillenmektedir. Bu çalışma müzikal bir analiz olup meselenin önemini ilgililere arz etme amaçlı olarak çalışılmıştır.

 As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Quran are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal permissible or haram prohibited. Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf Islamic Mysticism, also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music also known as Tasawwuf Music. Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Quran recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Quran is recited according to the Maqam Melodic modes of recitation requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Quran and the scientific understanding of music. When a connection between the Quran and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name Fem-i Muhsin. Hafız a title used for a person who has memorised the Quran in its entirety Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Quran education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Quran education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Quran to a degree of perfection and was proud of being a Hafız, where he believed that the Quran harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Quran according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Quran recitation, Hafız Bekir was able to take the listeners on a spiritual journey. A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Quran recitation according to the Istanbul Maqam style. In this study, Hafız Bekirs dual identity as both a musician and Quran Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Quran education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties.

 As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Quran are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal permissible or haram prohibited. Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf Islamic Mysticism, also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music also known as Tasawwuf Music. Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Quran recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Quran is recited according to the Maqam Melodic modes of recitation requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Quran and the scientific understanding of music. When a connection between the Quran and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name Fem-i Muhsin. Hafız a title used for a person who has memorised the Quran in its entirety Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Quran education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Quran education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Quran to a degree of perfection and was proud of being a Hafız, where he believed that the Quran harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Quran according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Quran recitation, Hafız Bekir was able to take the listeners on a spiritual journey. A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Quran recitation according to the Istanbul Maqam style. In this study, Hafız Bekirs dual identity as both a musician and Quran Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Quran education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties.

Makale detayları

Analysis of the Hafız Bekir Sıdkı Sezgin's Qur'an-i Kerim Recitation according to Maqam Styles

Yazarlar:

Esra Yılmaz

Yayıncı:

Fırat University

Ana Başlıklar:

Dini Musiki | Kuran-ı Kerim Okuma ve Kıraat

Dergi:

Fırat Üniversitesi İlahiyat Fakültesi Dergisi Vol.28 Issue 2, pp.205-218

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001307744

pISSN:

1304-639X

Qur

Music

Hafız

Maqam

Bekir Sıdkı Sezgin.Kur’ân-ı Kerîm

mûsikî

hafız

makam

Bekir Sıdkı Sezgin.

Sayı

Makale detayları

Yazarlar: Esra Yılmaz

Yayıncı: Fırat University

Ana Başlıklar: Dini Musiki | Kuran-ı Kerim Okuma ve Kıraat

Dergi: Fırat Üniversitesi İlahiyat Fakültesi Dergisi Vol.28 Issue 2, pp.205-218

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: İngilizce

Document ID (Org No.): 2001307744

pISSN: 1304-639X

Sayı

Yazarlar:

Esra Yılmaz

Yayıncı:

Fırat University

Ana Başlıklar:

Dini Musiki | Kuran-ı Kerim Okuma ve Kıraat

Dergi:

Fırat Üniversitesi İlahiyat Fakültesi Dergisi Vol.28 Issue 2, pp.205-218

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001307744

pISSN:

1304-639X