Analysis of Inter-compositional Relations in Turkish Music from the Perspective of Literary Systematics and Rhetoric

Musa Kazım Tığlıoğlu

Makale detayları

Analysis of Inter-compositional Relations in Turkish Music from the Perspective of Literary Systematics and Rhetoric

Yazarlar:

Musa Kazım Tığlıoğlu

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

İSTEM Issue 43, pp.333-356

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322004

pISSN:

1304-0618

Anahtar kelimeler:

Özet:

 While originality is essential in art, every artist is influenced by the works of their predecessors and, consciously or unconsciously, incorporates some elements from these works in their creations. This situation particularly causes the emergence of certain similarities during the creation of artworks that adhere to a tradition. These encountered similarities have been defined and classified in the field of Western musicology just as in Eastern and Western literature. However, there is a lack of a similar classification in the literature of Turkish music. It has been observed that researchers working on Turkish music generally define these types of similarities with terms such as nazîre, melodic-rhythmic similarity, reference, variation, melody attribution, meshk of composing, but the terms used do not always align with the concepts, and different terms are used for the same concepts. This article proposes a solution to the conceptual confusion in Turkish music literature, using the terminology of Classical Turkish literary rhetoric. New terms are suggested to define and explain inter-compositional relationships in Turkish music. In this regard terms that describe intertextual relationships under the headings of nazîre and serikât-ı şiriyye in Turkish literature and rhetoric arts were examined, and a new proposal for the definition and classification of inter-compositional relationships in Turkish music was made using the terms: nazîre, tazmîn, iktibâs, irsâl-i mesel, tehzîl, tevârüd, selh, ilmâm, mesh, iğâre, nesh, intihâl, akd, and hâll. Each of these concepts is explained with examples from prominent Turkish music composers. In this context, examples from the works of Dede Efendi, Sultan Selim III, Şakir Ağa, Zekâî Dede, and some contemporary composers were used. This article also broadly examines how and why artists utilize the works of their predecessors and explains how this method impacts the formation of tradition. The manner and reasons for using materials from previous works, and how the designation changes based on the quality of the resulting outcome, have been explained by highlighting the differences with literary terms. As far as we can ascertain, this study represents a pioneering contribution to its field. In Western music, inter-compositional relationships are classified by Burkholder under the concept of musical borrowing, divided into 14 categories. His classification, which predominantly utilizes literary terms, has been a source of inspiration for this study.

 While originality is essential in art, every artist is influenced by the works of their predecessors and, consciously or unconsciously, incorporates some elements from these works in their creations. This situation particularly causes the emergence of certain similarities during the creation of artworks that adhere to a tradition. These encountered similarities have been defined and classified in the field of Western musicology just as in Eastern and Western literature. However, there is a lack of a similar classification in the literature of Turkish music. It has been observed that researchers working on Turkish music generally define these types of similarities with terms such as nazîre, melodic-rhythmic similarity, reference, variation, melody attribution, meshk of composing, but the terms used do not always align with the concepts, and different terms are used for the same concepts. This article proposes a solution to the conceptual confusion in Turkish music literature, using the terminology of Classical Turkish literary rhetoric. New terms are suggested to define and explain inter-compositional relationships in Turkish music. In this regard terms that describe intertextual relationships under the headings of nazîre and serikât-ı şiriyye in Turkish literature and rhetoric arts were examined, and a new proposal for the definition and classification of inter-compositional relationships in Turkish music was made using the terms: nazîre, tazmîn, iktibâs, irsâl-i mesel, tehzîl, tevârüd, selh, ilmâm, mesh, iğâre, nesh, intihâl, akd, and hâll. Each of these concepts is explained with examples from prominent Turkish music composers. In this context, examples from the works of Dede Efendi, Sultan Selim III, Şakir Ağa, Zekâî Dede, and some contemporary composers were used. This article also broadly examines how and why artists utilize the works of their predecessors and explains how this method impacts the formation of tradition. The manner and reasons for using materials from previous works, and how the designation changes based on the quality of the resulting outcome, have been explained by highlighting the differences with literary terms. As far as we can ascertain, this study represents a pioneering contribution to its field. In Western music, inter-compositional relationships are classified by Burkholder under the concept of musical borrowing, divided into 14 categories. His classification, which predominantly utilizes literary terms, has been a source of inspiration for this study.

 While originality is essential in art, every artist is influenced by the works of their predecessors and, consciously or unconsciously, incorporates some elements from these works in their creations. This situation particularly causes the emergence of certain similarities during the creation of artworks that adhere to a tradition. These encountered similarities have been defined and classified in the field of Western musicology just as in Eastern and Western literature. However, there is a lack of a similar classification in the literature of Turkish music. It has been observed that researchers working on Turkish music generally define these types of similarities with terms such as nazîre, melodic-rhythmic similarity, reference, variation, melody attribution, meshk of composing, but the terms used do not always align with the concepts, and different terms are used for the same concepts. This article proposes a solution to the conceptual confusion in Turkish music literature, using the terminology of Classical Turkish literary rhetoric. New terms are suggested to define and explain inter-compositional relationships in Turkish music. In this regard terms that describe intertextual relationships under the headings of nazîre and serikât-ı şiriyye in Turkish literature and rhetoric arts were examined, and a new proposal for the definition and classification of inter-compositional relationships in Turkish music was made using the terms: nazîre, tazmîn, iktibâs, irsâl-i mesel, tehzîl, tevârüd, selh, ilmâm, mesh, iğâre, nesh, intihâl, akd, and hâll. Each of these concepts is explained with examples from prominent Turkish music composers. In this context, examples from the works of Dede Efendi, Sultan Selim III, Şakir Ağa, Zekâî Dede, and some contemporary composers were used. This article also broadly examines how and why artists utilize the works of their predecessors and explains how this method impacts the formation of tradition. The manner and reasons for using materials from previous works, and how the designation changes based on the quality of the resulting outcome, have been explained by highlighting the differences with literary terms. As far as we can ascertain, this study represents a pioneering contribution to its field. In Western music, inter-compositional relationships are classified by Burkholder under the concept of musical borrowing, divided into 14 categories. His classification, which predominantly utilizes literary terms, has been a source of inspiration for this study.

 Sanatta özgünlük esas olsa da her sanatçı, eserlerinde eslâfın eserlerinden etkilenir ve bilerek ya da bilmeyerek bu eserlerdeki bazı unsurları eserlerinde yeniden işler. Bu durum, husûsiyetle de bir ananeye bağlı olan sanatlarda eserlerin oluşturulması sırasında birtakım benzerliklerin ortaya çıkmasına neden olur. Rastlanılan bu benzerlikler, Doğu ve Batı edebiyatlarında olduğu gibi Batı müziği müzikolojisi sahasında da tanımlanmış ve sınıflandırılmıştır. Ancak Türk müziği literatüründe benzer bir sınıflandırma eksikliği bulunmaktadır. Türk müziği üzerine çalışan araştırmacıların, bu tür benzerlikleri genellikle nazîre, melodik-ritmik benzerlik, gönderme, çeşitleme, ezgi atfı, bestekârlık meşki gibi terimlerle tanımlamakta olduğu, ancak, kullanılan terimin kavramla her zaman uyumlu olmadığı ve farklı terimlerin aynı mefhumlar için kullanıldığı gözlemlenmiştir. Makalede Klasik Türk edebiyatı belâgat terminolojisinden yola çıkılarak, literatürdeki bu kavram kargaşasına bir çözüm önerisi sunulmuş, Türk müziğindeki bestelerarası ilişkilerin tanımlanması ve açıklanmasında kullanılabilecek yeni terimler önerilmiştir. Türk edebiyat ve belâgat sanatlarında nazîre ve serikât-ı şiriyye başlıkları altında yer alan ve metinlerarası ilişkileri tanımlayan terimler incelenmiş, bunlardan bazıları olan nazîre, tazmîn, iktibâs, irsâl-i mesel, tehzîl, tevârüd, selh, ilmâm, mesh, iğâre, nesh, intihâl, akd ve hâll terimleri ile Türk müziğindeki bestelerarası ilişkilerin tarif ve tasnifine yönelik yeni bir öneride bulunulmuştur. Adı geçen her bir terim Türk müziğinin önde gelen bestekârlarından örneklerle açıklanmıştır. Bu bağlamda Dede Efendi, III. Selim, Şakir Ağa, Zekâî Dede ve bazı yakın dönem bestekârlarının eserlerinden örnekler kullanılmıştır. Bu makalede ayrıca daha geniş bir düzeyde, sanatçıların seleflerinin eserlerinden nasıl yararlandıklarını ve neden bu yönteme başvurdukları irdelenerek bunun gelenektradisyon oluşumuna nasıl bir etkisi olduğu açıklanmaktadır. Önceki eserlerden malzemelerin ne şekilde ve neden kullanıldığı, ortaya çıkan sonucun kalitesine göre adlandırmanın nasıl değişeceği edebiyat terimleri ile farkları gösterilerek îzâh edilmiştir. Tesbit edilebildiği kadarıyla bu çalışma, sahasında bir ilk olma özelliği taşımaktadır. Batı müziğindeki bestelerarası ilişkiler Burkholder tarafından müzikal ödünç kavramı altında 14 maddeye ayrılarak sınıflandırmaktadır. Onun bu tasnifi yaparken kullandığı terimlerin çoğunlukla edebiyat mahreçli olması, çalışmanın ilham kaynaklarından biri olmuştur.

Makale detayları

Analysis of Inter-compositional Relations in Turkish Music from the Perspective of Literary Systematics and Rhetoric

Yazarlar:

Musa Kazım Tığlıoğlu

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

İSTEM Issue 43, pp.333-356

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322004

pISSN:

1304-0618

Turkish Music

Rhetoric

Similarity in Music

Citation

PlagiarismTürk Müziği

Belagat

Müzikte Benzerlik

İktibas

İntihal

Sayı

Makale detayları

Yazarlar: Musa Kazım Tığlıoğlu

Yayıncı: Necmettin Erbakan University

Ana Başlıklar: Müzik (Diğer)

Dergi: İSTEM Issue 43, pp.333-356

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001322004

pISSN: 1304-0618

Sayı

Yazarlar:

Musa Kazım Tığlıoğlu

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

İSTEM Issue 43, pp.333-356

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322004

pISSN:

1304-0618