Kemal İlerici (1910-1986) and His Lifetime Struggle on the Basis of His Letters

Semih Pelen; Nilgün Doğrusöz Dişiaçık; Melik Ertuğrul Bayraktarkatal

Makale detayları

Kemal İlerici (1910-1986) and His Lifetime Struggle on the Basis of His Letters

Yazarlar:

Semih Pelen | Nilgün Doğrusöz Dişiaçık | Melik Ertuğrul Bayraktarkatal

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 22, pp.145-170

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001285653

pISSN:

2651-4818

Anahtar kelimeler:

Özet:

 Today, when Dörtlü Armoni Quartal Harmony is mentioned in Turkey, the first name that comes to mind, at least for those who have heard of this concept before, is Kemal İIerici 1910-1986, the founder of it. For this reason, this system, which essentially aims to provide the Turkish traditional music with a polyphonic design, is sometimes referred to as İIerici Armonisi İIerici Harmony. Composers of a generation, who stood a chance to become İlericis student and learn from him, have benefited from this harmonic system in their compositions and some are still making use of it. For this reason, this system introduced by İIerici, is important in terms of Turkish music history. Although there are various studies that have been conducted about Kemal İIerici, there is no in-depth research that sheds light on the motivation behind the invention of such a harmonic system. Therefore, in this study, the discourse of İlerici will be focused on by examining the selected letters written by him to various figures of the period, which are both in our personal archives and in the archive of the Ministry of Culture. In this context, it will be revealed how the binary oppositions, which are frequently encountered in İlericis discourse, indicate a dependence with the the starting point of his most important work, the harmonic system, and a struggle that he had been through along his life. Thus, it is aimed to shed light on the unknown about the life of İlerici for the first time, and to provide the history of Turkish music modernization with a different perspective.

 Today, when Dörtlü Armoni Quartal Harmony is mentioned in Turkey, the first name that comes to mind, at least for those who have heard of this concept before, is Kemal İIerici 1910-1986, the founder of it. For this reason, this system, which essentially aims to provide the Turkish traditional music with a polyphonic design, is sometimes referred to as İIerici Armonisi İIerici Harmony. Composers of a generation, who stood a chance to become İlericis student and learn from him, have benefited from this harmonic system in their compositions and some are still making use of it. For this reason, this system introduced by İIerici, is important in terms of Turkish music history. Although there are various studies that have been conducted about Kemal İIerici, there is no in-depth research that sheds light on the motivation behind the invention of such a harmonic system. Therefore, in this study, the discourse of İlerici will be focused on by examining the selected letters written by him to various figures of the period, which are both in our personal archives and in the archive of the Ministry of Culture. In this context, it will be revealed how the binary oppositions, which are frequently encountered in İlericis discourse, indicate a dependence with the the starting point of his most important work, the harmonic system, and a struggle that he had been through along his life. Thus, it is aimed to shed light on the unknown about the life of İlerici for the first time, and to provide the history of Turkish music modernization with a different perspective.

 Today, when Dörtlü Armoni Quartal Harmony is mentioned in Turkey, the first name that comes to mind, at least for those who have heard of this concept before, is Kemal İIerici 1910-1986, the founder of it. For this reason, this system, which essentially aims to provide the Turkish traditional music with a polyphonic design, is sometimes referred to as İIerici Armonisi İIerici Harmony. Composers of a generation, who stood a chance to become İlericis student and learn from him, have benefited from this harmonic system in their compositions and some are still making use of it. For this reason, this system introduced by İIerici, is important in terms of Turkish music history. Although there are various studies that have been conducted about Kemal İIerici, there is no in-depth research that sheds light on the motivation behind the invention of such a harmonic system. Therefore, in this study, the discourse of İlerici will be focused on by examining the selected letters written by him to various figures of the period, which are both in our personal archives and in the archive of the Ministry of Culture. In this context, it will be revealed how the binary oppositions, which are frequently encountered in İlericis discourse, indicate a dependence with the the starting point of his most important work, the harmonic system, and a struggle that he had been through along his life. Thus, it is aimed to shed light on the unknown about the life of İlerici for the first time, and to provide the history of Turkish music modernization with a different perspective.

 Bugün Türkiyede Dörtlü Armoni denilince, en azından bu kavramı daha önce duymuş olanların aklına gelen ilk isim, doğal olarak bu sistemin mimarı olan Kemal İlericidir 1910-1986. Bu sebeple kimi zaman İlerici Armonisi olarak da anılan bu sistem özünde, geleneksel Türk müziğinin çok seslendirilmesine olanak sağlamayı amaçlamaktadır. İlerici ile tanışarak öğrencisi olabilmiş ve bu sistemi bizzat ondan öğrenebilmiş bir kuşağın bestecileri, eserlerinde bu armonik sistemden yararlanmış  yararlanmaktadırlar. Bu sebeple, İlericinin kullanıma sunduğu bu sistem, Türk müzik tarihi açısından önem arz etmektedir. Hayatı ve armonik sistemi ile ilgili çeşitli çalışmalar yapılmış olsa da bu sistemin İlerici tarafından hangi ihtiyaçla inşa edildiğine ışık tutacak derin bir araştırma mevcut değildir. Dolayısıyla bu çalışmada, hem kişisel arşivlerimizde hem de Kültür Bakanlığı arşivinde bulunan, İlerici tarafından dönemin çeşitli isimlerine yazılmış ve onlardan gelmiş olan seçilmiş mektuplar ekseninde, Dörtlü Armoni sisteminin arkasındaki motivasyonun neler olduğu irdelenmiştir. Bu bağlamda, İlericinin hayat felsefesinin merkezinde yer aldığı anlaşılan zıtlık düşüncesinin, en önemli eseri olan armonik sisteminin çıkış noktasını oluşturduğu gibi ona meşruiyet kazandırma yolunda verdiği mücadelenin de temel gerekçesini oluşturduğu anlaşılmıştır. Böylece, İlericinin hayatı ile ilgili bilinmeyenler de ilk defa gün ışığına çıkartılarak Türk müzik modernleşmesi sürecinde yaşananların farklı bir açıdan ele alınması amaçlanmıştır.

Makale detayları

Kemal İlerici (1910-1986) and His Lifetime Struggle on the Basis of His Letters

Yazarlar:

Semih Pelen | Nilgün Doğrusöz Dişiaçık | Melik Ertuğrul Bayraktarkatal

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 22, pp.145-170

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001285653

pISSN:

2651-4818

Binary Oppositions

Kemal İlerici

Modernism

Struggle

Turkish Music

Quartal Harmony

Dörtlü Armoni

İkili Zıtlıklar

Kemal İlerici

Modernleşme

Mücadele

Türk Müziği

Sayı

Makale detayları

Yazarlar: Semih Pelen | Nilgün Doğrusöz Dişiaçık | Melik Ertuğrul Bayraktarkatal

Yayıncı: Ege University

Ana Başlıklar: Müzik

Dergi: Eurasian Journal of Music and Dance Issue 22, pp.145-170

Belge Tipi: Makale

Yayın Tarihi: 6/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001285653

pISSN: 2651-4818

Sayı

Yazarlar:

Semih Pelen | Nilgün Doğrusöz Dişiaçık | Melik Ertuğrul Bayraktarkatal

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 22, pp.145-170

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001285653

pISSN:

2651-4818