Perception of the Musical Relationship Between Tanbûrî Cemil Bey and Niyazi Sayın by Their Per-formances of Tâhir-Bûselik Peşrev

Abdurrahman Özsağır; Muhammet Zinnur Kanık

Makale detayları

Perception of the Musical Relationship Between Tanbûrî Cemil Bey and Niyazi Sayın by Their Per-formances of Tâhir-Bûselik Peşrev

Yazarlar:

Abdurrahman Özsağır | Muhammet Zinnur Kanık

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Dini Musiki | Müzik (Diğer)

Dergi:

İSTEM Issue 43, pp.273-288

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322002

pISSN:

1304-0618

Anahtar kelimeler:

Özet:

 Civilizations owe their development to the traditions they have. The durability of these traditions is directly related to the guarantee of the continuation of that civilization. Music, as such a traditional art field, is a God-given field of occupation for members of every civilization. The solidity of the ancient tradition in music has sometimes created resistance to innovations. Despite these facts, per-sonalities who are described as geniuses have emerged from time to time and added innovation to this ancient tradition. Most of the time, these contributions were painful in their periods. Sometimes contributors are excluded or marginalized. However, it is understood that those who opposed those contributors mostly accepted the contributions after a while with admiration and sometimes even became their strongest advocates. Joseph A. Schumpeter made it possible to explain the activities of these individuals with his definition of creative destruction. Bekir Şahin Baloğlu also inspired the emergence of this study by touching on the place of Tanbûrî Cemil Bey and Niyazi Sayın in tradi-tion, based on the definition of creative destruction. The creative destruction that Tanbûrî Cemil Bey and Niyazi Sayın implemented with their performance compared to their contemporaries did not disrupt the ancient tradition, but rather revived it. In this article, the strong bond between Tanbûrî Cemil and Niyazi Sayın has been discussed through the tâhir-bûselik peşrev they perform, and as a result, it has been seen that although there are parts in Niyazi Sayıns performance in which he bears traces of Cemil Beys style, he interprets the work in a unique way with his unique performance features throughout the performance.

 Civilizations owe their development to the traditions they have. The durability of these traditions is directly related to the guarantee of the continuation of that civilization. Music, as such a traditional art field, is a God-given field of occupation for members of every civilization. The solidity of the ancient tradition in music has sometimes created resistance to innovations. Despite these facts, per-sonalities who are described as geniuses have emerged from time to time and added innovation to this ancient tradition. Most of the time, these contributions were painful in their periods. Sometimes contributors are excluded or marginalized. However, it is understood that those who opposed those contributors mostly accepted the contributions after a while with admiration and sometimes even became their strongest advocates. Joseph A. Schumpeter made it possible to explain the activities of these individuals with his definition of creative destruction. Bekir Şahin Baloğlu also inspired the emergence of this study by touching on the place of Tanbûrî Cemil Bey and Niyazi Sayın in tradi-tion, based on the definition of creative destruction. The creative destruction that Tanbûrî Cemil Bey and Niyazi Sayın implemented with their performance compared to their contemporaries did not disrupt the ancient tradition, but rather revived it. In this article, the strong bond between Tanbûrî Cemil and Niyazi Sayın has been discussed through the tâhir-bûselik peşrev they perform, and as a result, it has been seen that although there are parts in Niyazi Sayıns performance in which he bears traces of Cemil Beys style, he interprets the work in a unique way with his unique performance features throughout the performance.

 Civilizations owe their development to the traditions they have. The durability of these traditions is directly related to the guarantee of the continuation of that civilization. Music, as such a traditional art field, is a God-given field of occupation for members of every civilization. The solidity of the ancient tradition in music has sometimes created resistance to innovations. Despite these facts, per-sonalities who are described as geniuses have emerged from time to time and added innovation to this ancient tradition. Most of the time, these contributions were painful in their periods. Sometimes contributors are excluded or marginalized. However, it is understood that those who opposed those contributors mostly accepted the contributions after a while with admiration and sometimes even became their strongest advocates. Joseph A. Schumpeter made it possible to explain the activities of these individuals with his definition of creative destruction. Bekir Şahin Baloğlu also inspired the emergence of this study by touching on the place of Tanbûrî Cemil Bey and Niyazi Sayın in tradi-tion, based on the definition of creative destruction. The creative destruction that Tanbûrî Cemil Bey and Niyazi Sayın implemented with their performance compared to their contemporaries did not disrupt the ancient tradition, but rather revived it. In this article, the strong bond between Tanbûrî Cemil and Niyazi Sayın has been discussed through the tâhir-bûselik peşrev they perform, and as a result, it has been seen that although there are parts in Niyazi Sayıns performance in which he bears traces of Cemil Beys style, he interprets the work in a unique way with his unique performance features throughout the performance.

 Medeniyetler gelişimlerini sahip oldukları geleneklere borçludurlar. Bu geleneklerin sağlamlığı o medeniyetin devamının garantisi ile doğrudan ilgilidir. Mûsikî böyle gelenekli bir sanat alanı olarak her medeniyetin mensupları için Allah vergisi bir meşgale alanıdır. Mûsikîdeki kadim geleneğin sağ-lamlığı bazen yeniliklere karşı direnç oluşturmuştur. Bu gerçeklere karşın zaman zaman deha diye nitelendirilen şahsiyetler tebarüz ederek bu kadim geleneğe yenilik katmıştır. Çoğu zaman bu katkı-lar kendi dönemlerinde sancılı olmuştur. Bazen katkı sahibi şahıslar dışlanmış veya ötekileştirilmiş-tir. Fakat anlaşılmaktadır ki, o katkı sahiplerinin karşısında muhalefet eden kişiler çoğunlukla bir müddet sonra hayranlık içinde yapılan katkıları kabullenmiş ve hatta bazen en güçlü savunucuları haline gelmiştir. Joseph A. Schumpeter ortaya attığı yaratıcı yıkıcılık tanımı ile bu şahsiyetlerin faaliyetlerinin de izah edilebilinmesine olanak vermiştir. Bekir Şahin Baloğlu da yaratıcı yıkıcılık tanımı üzerinden hareketle Tanbûrî Cemil Bey ve Niyazi Sayının gelenekteki yerine değinerek bu çalışmanın ortaya çıkmasına kaynaklık etmiştir. Tanbûrî Cemil Bey ve Niyazi Sayının çağdaşlarına nazaran ortaya koydukları icra ile uygulamış oldukları yaratıcı yıkıcılık kadim geleneği bozmamış bilakis ihya etmiştir. Bu makalede Tanbûrî Cemil ve Niyazi Sayın arasındaki güçlü bağ icra ettikleri tâhir-bûselik peşrevi üzerinden tartışılmış ve sonuç olarak Niyazi Sayının icrasında her ne kadar Cemil Beyin tavrından izler taşıdığı bölümler olsa da icranın bütününde kendine has icra özellikle-riyle eseri özgün bir şekilde yorumladığı görülmüştür.

Makale detayları

Perception of the Musical Relationship Between Tanbûrî Cemil Bey and Niyazi Sayın by Their Per-formances of Tâhir-Bûselik Peşrev

Yazarlar:

Abdurrahman Özsağır | Muhammet Zinnur Kanık

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Dini Musiki | Müzik (Diğer)

Dergi:

İSTEM Issue 43, pp.273-288

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322002

pISSN:

1304-0618

Music

Tanbûrî Cemil Bey

Niyazi Sayın

Kemençe

NeyMûsiki

Tanbûrî Cemil Bey

Niyazi Sayın

Kemençe

Ney

Sayı

Makale detayları

Yazarlar: Abdurrahman Özsağır | Muhammet Zinnur Kanık

Yayıncı: Necmettin Erbakan University

Ana Başlıklar: Dini Musiki | Müzik (Diğer)

Dergi: İSTEM Issue 43, pp.273-288

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001322002

pISSN: 1304-0618

Sayı

Yazarlar:

Abdurrahman Özsağır | Muhammet Zinnur Kanık

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Dini Musiki | Müzik (Diğer)

Dergi:

İSTEM Issue 43, pp.273-288

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322002

pISSN:

1304-0618