Haydar Tatlıyay and the Movie “Ben Bir Günahsızım” in Arabesque Music Discussions in Turkey

Emre Üstgül; Sıtkı Bahadır Tutu

Makale detayları

Haydar Tatlıyay and the Movie “Ben Bir Günahsızım” in Arabesque Music Discussions in Turkey

Yazarlar:

Emre Üstgül | Sıtkı Bahadır Tutu

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 2, pp.528-544

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001338392

pISSN:

2618-5695

Anahtar kelimeler:

Özet:

 Haydar Tatlıyay 1890-1963 is an important figure who stands out as both a violin performer and a composer in twentieth century Turkish classical music. In addition to many corporate and private musical works in Turkey, considering the close friendship relations he established with Arab countries and musicians, the names he sometimes gave to his works that evoke Arab culture, and his personal musical tastes towards Arab music, he is one of Turkeys most popular musicians of the recent period. It is not a surprise that the name Tatlıyay comes to the fore in arabesque music discussions, which is one of the topics of research and discussion. Tatlıyays top cinema project, the film Ben Bir Günahsızım, is an important source of data to find traces of the view put forward by many researchers that The pioneer of arabesque is Tatlıyay. The main purpose of this article is; To question the existence of the pioneering role attributed to Tatlıyay in arabesque music discussions in Turkey, based on the music-stage harmony of the movie Ben Bir Günahsızım and the diversity of the music performed in the movie in terms of genre, and to identify the artists function in the development and spread of this music by comparing it with the arabesque elements that developed in the historical process. is to This subject, which also concerns the disciplines of sociology and social psychology, has been approached within the framework of recent music history. In the qualitative research focusing on the arabesque elements in Tatlıyays music, literature review and document analysis methods were used. The structural analysis of the film was conducted through qualitative evaluations, and the similarities between the melodrama technique and arabesque f ilms were identified. As a result, it was concluded that Tatlıyays musical identity aligns with the social conditions that paved the way for the development of arabesque music in Turkey, and thus the artist secured his place in this process.

 Haydar Tatlıyay 1890-1963 is an important figure who stands out as both a violin performer and a composer in twentieth century Turkish classical music. In addition to many corporate and private musical works in Turkey, considering the close friendship relations he established with Arab countries and musicians, the names he sometimes gave to his works that evoke Arab culture, and his personal musical tastes towards Arab music, he is one of Turkeys most popular musicians of the recent period. It is not a surprise that the name Tatlıyay comes to the fore in arabesque music discussions, which is one of the topics of research and discussion. Tatlıyays top cinema project, the film Ben Bir Günahsızım, is an important source of data to find traces of the view put forward by many researchers that The pioneer of arabesque is Tatlıyay. The main purpose of this article is; To question the existence of the pioneering role attributed to Tatlıyay in arabesque music discussions in Turkey, based on the music-stage harmony of the movie Ben Bir Günahsızım and the diversity of the music performed in the movie in terms of genre, and to identify the artists function in the development and spread of this music by comparing it with the arabesque elements that developed in the historical process. is to This subject, which also concerns the disciplines of sociology and social psychology, has been approached within the framework of recent music history. In the qualitative research focusing on the arabesque elements in Tatlıyays music, literature review and document analysis methods were used. The structural analysis of the film was conducted through qualitative evaluations, and the similarities between the melodrama technique and arabesque f ilms were identified. As a result, it was concluded that Tatlıyays musical identity aligns with the social conditions that paved the way for the development of arabesque music in Turkey, and thus the artist secured his place in this process.

 Haydar Tatlıyay 1890-1963 is an important figure who stands out as both a violin performer and a composer in twentieth century Turkish classical music. In addition to many corporate and private musical works in Turkey, considering the close friendship relations he established with Arab countries and musicians, the names he sometimes gave to his works that evoke Arab culture, and his personal musical tastes towards Arab music, he is one of Turkeys most popular musicians of the recent period. It is not a surprise that the name Tatlıyay comes to the fore in arabesque music discussions, which is one of the topics of research and discussion. Tatlıyays top cinema project, the film Ben Bir Günahsızım, is an important source of data to find traces of the view put forward by many researchers that The pioneer of arabesque is Tatlıyay. The main purpose of this article is; To question the existence of the pioneering role attributed to Tatlıyay in arabesque music discussions in Turkey, based on the music-stage harmony of the movie Ben Bir Günahsızım and the diversity of the music performed in the movie in terms of genre, and to identify the artists function in the development and spread of this music by comparing it with the arabesque elements that developed in the historical process. is to This subject, which also concerns the disciplines of sociology and social psychology, has been approached within the framework of recent music history. In the qualitative research focusing on the arabesque elements in Tatlıyays music, literature review and document analysis methods were used. The structural analysis of the film was conducted through qualitative evaluations, and the similarities between the melodrama technique and arabesque f ilms were identified. As a result, it was concluded that Tatlıyays musical identity aligns with the social conditions that paved the way for the development of arabesque music in Turkey, and thus the artist secured his place in this process.

 Haydar Tatlıyay 1890-1963, yirminci yüzyıl Türk sanat müziğinde gerek keman icracısı gerek besteci kimliğiyle ön plana çıkan önemli bir figürdür. Türkiyede ku rumsal ve özel olmak üzere birçok müzik çalışmasının yanı sıra, Arap ülkeleri ve müzisyenleriyle kurduğu yakın dostluk ilişkileri, zaman zaman eserlerine verdiği Arap kültürünü çağrıştıran isimler ve kişisel müzik beğenilerinde Arap müziğine olan yatkınlığı göz önüne alındığında, Türkiyenin yakın döneminin en popüler araştırma ve tartışma konularından biri olan arabesk müzik tartışmalarında Tatlıyay isminin ön plana çıkması sürpriz değildir. Tatlıyayın zirve sinema projesi olan Ben Bir Günahsızım isimli film, pek çok araştırmacının ileri sürdüğü arabeskin öncü ismi Tatlıyaydır görüşünün izlerini bulmak için önemli bir veri kaynağıdır. Bu makalenin temel amacı;Türkiyede arabesk müzik tartışmalarında Tatlıyaya atfedilen öncülük rolünün varlığını, Ben Bir Günahsızım filminin müzik-sahne uyumundan ve filmde icra edilen müziklerin tür bağlamında çeşitliliğinden hareketle sorgulamak ve tar ihsel süreçte gelişen arabesk unsurlarla karşılaştırıp sanatçının bu müziğin gelişip yayılmasındaki işlevini tespit etmektir. Sosyoloji ve sosyal psikoloji disiplinlerini de ilgilendiren konuya yakın dönem müzik tarihi alanı çerçevesinde yaklaşılmıştır. Tatlıyayın müziğindeki arabesk unsurların odağa alındığı nitel araştırmada, literatür tarama ve belge inceleme yöntemleri kullanılmıştır. Filmin yapısal çözümlenmesi nitel değerlendirmeler kullanılarak gerçekleştirilmiş, melodram tekniği ile arabesk f ilmler arasındaki benzerlikler tanımlanmıştır. Sonuç olarak, Tatlıyayın müzik kim liğinin Türkiyede arabesk müziğin gelişimini hazırlayan sosyal koşullarla örtüştüğü ve bu sebeple sanatçının süreçte kendine yer edindiği görüşüne varılmıştır.

Makale detayları

Haydar Tatlıyay and the Movie “Ben Bir Günahsızım” in Arabesque Music Discussions in Turkey

Yazarlar:

Emre Üstgül | Sıtkı Bahadır Tutu

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 2, pp.528-544

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001338392

pISSN:

2618-5695

Haydar Tatlıyay

Arabesque Music

Ben Bir GünahsızımHaydar Tatlıyay

Arabesk Müzik

Ben Bir Günahsızım

Sayı

Makale detayları

Haydar Tatlıyay and the Movie “Ben Bir Günahsızım” in Arabesque Music Discussions in Turkey

Yazarlar: Emre Üstgül | Sıtkı Bahadır Tutu

Yayıncı: Istanbul University

Ana Başlıklar: Müzik (Diğer)

Dergi: Konservatoryum Vol.11 Issue 2, pp.528-544

Belge Tipi: Makale

Yayın Tarihi: 12/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001338392

pISSN: 2618-5695

Haydar Tatlıyay

Arabesque Music

Ben Bir GünahsızımHaydar Tatlıyay

Arabesk Müzik

Ben Bir Günahsızım

Sayı

Yazarlar:

Emre Üstgül | Sıtkı Bahadır Tutu

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 2, pp.528-544

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001338392

pISSN:

2618-5695