Maqam Analysis of Leon Hancıyan, One of the 20th Century Composers, and His Works in the Karcığar Maqam

Seda Yalman

Makale detayları

Maqam Analysis of Leon Hancıyan, One of the 20th Century Composers, and His Works in the Karcığar Maqam

Yazarlar:

Seda Yalman

Yayıncı:

Gaziantep University

Ana Başlıklar:

Müzik Sosyolojisi

Dergi:

Gaziantep Üniversitesi Sosyal Bilimler Dergisi Vol.24 Issue 1, pp.76-95

Belge Tipi:

Makale

Yayın Tarihi:

1/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001339781

pISSN:

1303-0094

Anahtar kelimeler:

Özet:

 Leon Hancıyan, one of the composers of 20th century Turkish Music, is an important musician who has made great contributions to the development and enrichment of the classical Turkish Music repertoire by composing works in many forms. In addition to learning the subtleties, theoretical and practical aspects of music on his own, he is known for the abundance of works he knows. Leon Hancıyan, who was taken lessons by the majority of the musicians who were educated and became famous in that period, has been a qualified source for the works of some of our composers who lived in the early 19th and 20th centuries. This research includes the analysis of three works of Leon Hancıyan, who made significant contributions to the spread of Turkish Music, in Karcığar makam, in terms of makam elements and evaluations regarding information about his life and works. The data obtained in this study, which was examined with the qualitative research method, were examined by document analysis, percentage calculation and makam analysis. In the research, Onur Akdoğus makam analysis method was applied. As a result of the research, it was determined that Hancıyan had the most works in the Şarkı form, that he mostly worked on the Aksak Semai usul in his works, and that he mostly dealt with the Suzinak makam as a makam. In addition, Hancıyans works in the Karcığar makam, which was taken as an example in terms of understanding his makam attitude, were compared with the theoretical descriptions throughout history in terms of makam elements. In this comparison, it was determined that Hancıyans works did not fully comply with Kantemiroğlus description, that they mostly resembled the descriptions of İsmail Hakkı Bey, Ekrem Karadeniz and Tanburi Cemil Bey, and that the descriptions of Rauf Yekta, Suphi Ezgi and Hüseyin Sadeddin Arel were inadequate in terms of not mentioning the tones that are important in terms of understanding the makam progression.

 Leon Hancıyan, one of the composers of 20th century Turkish Music, is an important musician who has made great contributions to the development and enrichment of the classical Turkish Music repertoire by composing works in many forms. In addition to learning the subtleties, theoretical and practical aspects of music on his own, he is known for the abundance of works he knows. Leon Hancıyan, who was taken lessons by the majority of the musicians who were educated and became famous in that period, has been a qualified source for the works of some of our composers who lived in the early 19th and 20th centuries. This research includes the analysis of three works of Leon Hancıyan, who made significant contributions to the spread of Turkish Music, in Karcığar makam, in terms of makam elements and evaluations regarding information about his life and works. The data obtained in this study, which was examined with the qualitative research method, were examined by document analysis, percentage calculation and makam analysis. In the research, Onur Akdoğus makam analysis method was applied. As a result of the research, it was determined that Hancıyan had the most works in the Şarkı form, that he mostly worked on the Aksak Semai usul in his works, and that he mostly dealt with the Suzinak makam as a makam. In addition, Hancıyans works in the Karcığar makam, which was taken as an example in terms of understanding his makam attitude, were compared with the theoretical descriptions throughout history in terms of makam elements. In this comparison, it was determined that Hancıyans works did not fully comply with Kantemiroğlus description, that they mostly resembled the descriptions of İsmail Hakkı Bey, Ekrem Karadeniz and Tanburi Cemil Bey, and that the descriptions of Rauf Yekta, Suphi Ezgi and Hüseyin Sadeddin Arel were inadequate in terms of not mentioning the tones that are important in terms of understanding the makam progression.

 Leon Hancıyan, one of the composers of 20th century Turkish Music, is an important musician who has made great contributions to the development and enrichment of the classical Turkish Music repertoire by composing works in many forms. In addition to learning the subtleties, theoretical and practical aspects of music on his own, he is known for the abundance of works he knows. Leon Hancıyan, who was taken lessons by the majority of the musicians who were educated and became famous in that period, has been a qualified source for the works of some of our composers who lived in the early 19th and 20th centuries. This research includes the analysis of three works of Leon Hancıyan, who made significant contributions to the spread of Turkish Music, in Karcığar makam, in terms of makam elements and evaluations regarding information about his life and works. The data obtained in this study, which was examined with the qualitative research method, were examined by document analysis, percentage calculation and makam analysis. In the research, Onur Akdoğus makam analysis method was applied. As a result of the research, it was determined that Hancıyan had the most works in the Şarkı form, that he mostly worked on the Aksak Semai usul in his works, and that he mostly dealt with the Suzinak makam as a makam. In addition, Hancıyans works in the Karcığar makam, which was taken as an example in terms of understanding his makam attitude, were compared with the theoretical descriptions throughout history in terms of makam elements. In this comparison, it was determined that Hancıyans works did not fully comply with Kantemiroğlus description, that they mostly resembled the descriptions of İsmail Hakkı Bey, Ekrem Karadeniz and Tanburi Cemil Bey, and that the descriptions of Rauf Yekta, Suphi Ezgi and Hüseyin Sadeddin Arel were inadequate in terms of not mentioning the tones that are important in terms of understanding the makam progression.

 20. Yüzyıl Türk Mûsikîsinin bestekârlarından olan Leon Hancıyan birçok formda eser besteleyerek klasik Türk Mûsikîsi repertuvarının gelişip zenginleşmesine büyük katkılarda bulunmuş önemli bir musikişinastır. Mûsikînin inceliklerini, nazari ve pratik yönlerini kendi kendine öğrenmesinin yanı sıra, bildiği eserlerin fazlalığıyla tanınmıştır. O dönemin yetişmiş ve ün yapmış musikişinaslarının büyük çoğunluğunun ders aldığı Leon Hancıyan, 19. ve 20. yy. başlarında yaşamış olan birtakım bestecilerimizin çalışmalarına nitelikli bir kaynak olmuştur. Bu araştırma Türk Mûsikîsinin yaygınlaşmasına önemli katkılarda bulunan Leon Hancıyanın şarkı formunda bestelenen Karcığar makamındaki üç eserinin makam unsurları açısından tahlilini ve de hayatına, eserlerine yönelik bilgilere ilişkin değerlendirmeleri kapsamaktadır. Nitel araştırma yöntemi ile incelenen bu çalışmada ulaşılan veriler, doküman tahlili ile yüzde hesabı ve makam tahlili yapılarak incelenmiştir. Araştırmada, Onur Akdoğunun makam analizi yöntemi uygulanmıştır. Araştırma sonucunda Hancıyanın en çok Şarkı formunda eserinin bulunduğu, eserlerinde en çok Aksak Semai usulünü işlediği ve makam olarak en çok Suzinak makamını ele aldığı tespit edilmiştir. Ayrıca Hancıyanın makamsal tavrının anlaşılması bakımından örnek alınan Karcığar makamındaki eserleri makam unsurları yönünden tarih içerisindeki nazari tarifler ile mukayese edilmiştir. Bu karşılaştırmada Hancıyanın eserlerinin Kantemiroğlunun tarifi ile tam olarak uyum göstermediği, İsmail Hakkı Bey, Ekrem Karadeniz ve Tanburi Cemil Bey in tarifleri ile çoğunlukla benzerlik gösterdiği, Rauf Yekta, Suphi Ezgi ve Hüseyin Sadeddin Arelin tariflerinin de makam seyrinin anlaşılması bakımından önem arz eden perdelerden bahsetmemesi yönüyle yetersiz kaldığı belirlenmiştir.

Makale detayları

Maqam Analysis of Leon Hancıyan, One of the 20th Century Composers, and His Works in the Karcığar Maqam

Yazarlar:

Seda Yalman

Yayıncı:

Gaziantep University

Ana Başlıklar:

Müzik Sosyolojisi

Dergi:

Gaziantep Üniversitesi Sosyal Bilimler Dergisi Vol.24 Issue 1, pp.76-95

Belge Tipi:

Makale

Yayın Tarihi:

1/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001339781

pISSN:

1303-0094

Leon Hancıyan

Maqam Analysis

SongLeon Hancıyan

Makam Analizi

Şarkı.

Sayı

Makale detayları

Maqam Analysis of Leon Hancıyan, One of the 20th Century Composers, and His Works in the Karcığar Maqam

Yazarlar: Seda Yalman

Yayıncı: Gaziantep University

Ana Başlıklar: Müzik Sosyolojisi

Dergi: Gaziantep Üniversitesi Sosyal Bilimler Dergisi Vol.24 Issue 1, pp.76-95

Belge Tipi: Makale

Yayın Tarihi: 1/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001339781

pISSN: 1303-0094

Leon Hancıyan

Maqam Analysis

SongLeon Hancıyan

Makam Analizi

Şarkı.

Sayı

Yazarlar:

Seda Yalman

Yayıncı:

Gaziantep University

Ana Başlıklar:

Müzik Sosyolojisi

Dergi:

Gaziantep Üniversitesi Sosyal Bilimler Dergisi Vol.24 Issue 1, pp.76-95

Belge Tipi:

Makale

Yayın Tarihi:

1/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001339781

pISSN:

1303-0094