AN ANALYSIS ON “…THE CITY OF ANACHRONISM, ISTANBUL...” (“...ZAMANSAL ÇELİŞKİLER KENTİ, İSTANBUL...”) BY HASAN UÇARSU UNDER THE INFLUENCE OF ISTANBUL’S MYSTERY AND HISTORICAL TEXTURE”

İlayda Karaköse; Burçin Barut Dikicigiller

Makale detayları

AN ANALYSIS ON “…THE CITY OF ANACHRONISM, ISTANBUL...” (“...ZAMANSAL ÇELİŞKİLER KENTİ, İSTANBUL...”) BY HASAN UÇARSU UNDER THE INFLUENCE OF ISTANBUL’S MYSTERY AND HISTORICAL TEXTURE”

Yazarlar:

İlayda Karaköse | Burçin Barut Dikicigiller

Yayıncı:

Anadolu University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Sanat ve Tasarım Dergisi Vol.15 Issue 1, pp.650-669

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350111

pISSN:

2146-9059

Anahtar kelimeler:

Özet:

 Hasan Uçarsus piece titled The City of Anachronism, Istanbul... Zamansal Çelişkiler Kenti, İstanbul for Solo Flute and Piano has been analyzed thematically, through the city of Istanbul, the effects of which can be seen in the composers various works. Uçarsu wanted to reflect the different lives and different historical dimensions of Istanbul in the 1930s, which were in contrast to each other in the same period of time. While on the one hand, he included the figures and values of Ottoman Court Music; on the other hand, he wanted to reflect this contrast to the audience with the quotations from Seyyan Hanım Çalıkuşu Tango as the musical symbol of Istanbul beginning to modernize. The composer wanted to express Ottoman Court Music by using maqam-inspired fourth and fifth intervals. In this piece, in which Traditional Turkish Music motifs and maqams are used, technical and musical elements are examined and it is aimed to create a resource to guide the performer. The resource which has been prepared in line with this purpose is presented to the performer. In addition, an interview was held with the composer about the piece and the information obtained from this interview has been included in this study. As a result, it has been seen that the word anachronism, which is also included in the title of the piece, fully corresponds to the combination of Traditional Turkish Music elements coming from the Ottoman Court and the modern elements of Contemporary Western Music.

 Hasan Uçarsus piece titled The City of Anachronism, Istanbul... Zamansal Çelişkiler Kenti, İstanbul for Solo Flute and Piano has been analyzed thematically, through the city of Istanbul, the effects of which can be seen in the composers various works. Uçarsu wanted to reflect the different lives and different historical dimensions of Istanbul in the 1930s, which were in contrast to each other in the same period of time. While on the one hand, he included the figures and values of Ottoman Court Music; on the other hand, he wanted to reflect this contrast to the audience with the quotations from Seyyan Hanım Çalıkuşu Tango as the musical symbol of Istanbul beginning to modernize. The composer wanted to express Ottoman Court Music by using maqam-inspired fourth and fifth intervals. In this piece, in which Traditional Turkish Music motifs and maqams are used, technical and musical elements are examined and it is aimed to create a resource to guide the performer. The resource which has been prepared in line with this purpose is presented to the performer. In addition, an interview was held with the composer about the piece and the information obtained from this interview has been included in this study. As a result, it has been seen that the word anachronism, which is also included in the title of the piece, fully corresponds to the combination of Traditional Turkish Music elements coming from the Ottoman Court and the modern elements of Contemporary Western Music.

 Hasan Uçarsus piece titled The City of Anachronism, Istanbul... Zamansal Çelişkiler Kenti, İstanbul for Solo Flute and Piano has been analyzed thematically, through the city of Istanbul, the effects of which can be seen in the composers various works. Uçarsu wanted to reflect the different lives and different historical dimensions of Istanbul in the 1930s, which were in contrast to each other in the same period of time. While on the one hand, he included the figures and values of Ottoman Court Music; on the other hand, he wanted to reflect this contrast to the audience with the quotations from Seyyan Hanım Çalıkuşu Tango as the musical symbol of Istanbul beginning to modernize. The composer wanted to express Ottoman Court Music by using maqam-inspired fourth and fifth intervals. In this piece, in which Traditional Turkish Music motifs and maqams are used, technical and musical elements are examined and it is aimed to create a resource to guide the performer. The resource which has been prepared in line with this purpose is presented to the performer. In addition, an interview was held with the composer about the piece and the information obtained from this interview has been included in this study. As a result, it has been seen that the word anachronism, which is also included in the title of the piece, fully corresponds to the combination of Traditional Turkish Music elements coming from the Ottoman Court and the modern elements of Contemporary Western Music.

 Hasan Uçarsunun Solo Flüt ve Piyano için ...Zamansal Çelişkiler Kenti, İstanbul... adlı eseri, bestecinin farklı eserlerinde de etkileri görülen İstanbul kenti üzerinden tematik olarak incelenmiştir. 1930lu yıllardaki İstanbulun aynı zaman dilimindeki birbirine tezatlık oluşturan farklı hayatlarını ve farklı tarihsel boyutlarını bu eserinde yansıtmak isteyen Uçarsu, bir taraftan Osmanlı Saray Müziğinin figürleri ve değerlerine yer verirken, bir taraftan da çağdaşlaşmaya başlayan İstanbulun müzikal simgesi olarak Seyyan Hanım Çalıkuşu Tangosundan alıntılar yaparak dinleyicilere bu tezatlığı yansıtmak istemiştir. Besteci, Türk Makam Müziğini makam esintili dörtlü beşli aralıkların kullanımlarıyla ifade etmiştir. Türk Makam Müziği motifleri ve makamları kullanılan bu eserde, teknik ve müzikal öğeler incelenmiş olup yorumcuya yol göstermek amacıyla bir kaynak oluşturulması hedeflenmiştir. Bu hedef doğrultusunda hazırlanan çalışma bu eseri yorumlamak isteyen yorumcunun bilgisine sunulmuştur. Ayrıca, bestecinin İstanbul temalı başka eserler de bestelediği tespit edilmiş; böylece, bestecinin İstanbula olan ilgisi ve bu kente duyduğu aidiyet duygusu kapsamlı bir şekilde değerlendirilerek çalışmaya dahil edilmiştir. Sonuç olarak, eserin adında da yer alan çelişki kelimesinin, Geleneksel Türk Müziğinin Osmanlı Sarayından gelen öğeleri ile Modern Batı Müziğinin çağdaş unsurlarından oluşan bileşimi tam anlamıyla ifade ettiği görülmüştür.

Makale detayları

AN ANALYSIS ON “…THE CITY OF ANACHRONISM, ISTANBUL...” (“...ZAMANSAL ÇELİŞKİLER KENTİ, İSTANBUL...”) BY HASAN UÇARSU UNDER THE INFLUENCE OF ISTANBUL’S MYSTERY AND HISTORICAL TEXTURE”

Yazarlar:

İlayda Karaköse | Burçin Barut Dikicigiller

Yayıncı:

Anadolu University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Sanat ve Tasarım Dergisi Vol.15 Issue 1, pp.650-669

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350111

pISSN:

2146-9059

Hasan Uçarsu

İstanbul

Traditional Turkish Music

Contemporary Classical Music

21st CenturyHasan Uçarsu

İstanbul

Geleneksel Türk Müziği

Modern Klasik Batı Müziği

21. Yüzyıl.

Sayı

Makale detayları

Yazarlar: İlayda Karaköse | Burçin Barut Dikicigiller

Yayıncı: Anadolu University

Ana Başlıklar: Müzik (Diğer)

Dergi: Sanat ve Tasarım Dergisi Vol.15 Issue 1, pp.650-669

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001350111

pISSN: 2146-9059

Sayı

Yazarlar:

İlayda Karaköse | Burçin Barut Dikicigiller

Yayıncı:

Anadolu University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Sanat ve Tasarım Dergisi Vol.15 Issue 1, pp.650-669

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350111

pISSN:

2146-9059