Hasan Ferit Alnar keman ve piyano süiti taksim bölümünün geleneksel etki analizi
Yükleniyor...
Tarih
2021
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Trakya Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Cumhuriyetin ilanından sonra birbiri ardına hızla gerçekleştirilen yenilikler müzik alanında da etkisini göstermektedir. II. Mahmut döneminde başlayan Batılılaşma hareketinin müzik alanında sistemli bir şekilde devamı sayılabilecek bu yeniliklerle çağdaş çoksesli Türk müziğini yaratabilmek adına pek çok adım atılmıştır. Yetenekli Türk gençlerinin özellikle Viyana ve Paris başta olmak üzere Avrupa’nın önemli merkezlerine müzik eğitimi almak için gönderilmesi de bu adımların en önemlilerindendir. Türk Beşleri adıyla anılan bu gençler arasında Hasan Ferid Alnar da bulunmaktadır. Çocukluğunu müzik seslerinin hiç susmadığı bir evde fasıllar ve meşkler arasında geçiren Ferid Alnar henüz on iki yaşındayken en iyi kanun icracıları arasında gösterilmektedir ve aynı zamanda klasik kemençede de ustalaşmaktadır. Çoksesli olarak bestelediği eserlerde klasik Türk müziğini ustalıkla kullanabilmesi hem besteci hem de icracı olarak geleneksel müzikte de sahip olduğu yetkinliğin sonucu olarak değerlendirilebilir. Bu makalede Hasan Ferid Alnar’ın keman ve piyano için bestelediği süitinden Taksim bölümünün performansında geleneksel etkinin makamsal analiz ve keman teknikleri bağlamında incelenmesi amaçlanmaktadır
The reforms that were rapidly implemented one after another following the proclamation of the Turkish republic already started to have an impact on the sphere of music. Regarded as the systematic continuation of the westernisation movement launched during the period of Mahmud II, these reforms paved the way for numerous initiatives aimed at establishing the contemporary polyphonic Turkish music as an alternative to the classical Turkish music. One of the most important of these initiatives was sending talented Turkish youth to the influential music centres of Europe, particularly Paris and Vienna, with the purpose of providing them with music education. Hasan Ferid Alnar belonged to this group of talented young Turkish people, which is also known as the Turkish Five. Having spent his childhood in a highly musical household of constant fasil and musical practice, Ferid Alnar was already acknowledged as one of the best qanun performers at the age of 12, in addition to his mastery of classical kemenche. In this context, his competence in traditional music both as a composer and a performer can be considered as the basis of his ability to masterfully utilise classical Turkish music in his polyphonic compositions. The aim of the present paper is to analyse the traditional influence present in the performance of the Taksim movement of Hasan Ferid Alnar’s Suite for violin and piano within the context of makam analysis and violin techniques.
The reforms that were rapidly implemented one after another following the proclamation of the Turkish republic already started to have an impact on the sphere of music. Regarded as the systematic continuation of the westernisation movement launched during the period of Mahmud II, these reforms paved the way for numerous initiatives aimed at establishing the contemporary polyphonic Turkish music as an alternative to the classical Turkish music. One of the most important of these initiatives was sending talented Turkish youth to the influential music centres of Europe, particularly Paris and Vienna, with the purpose of providing them with music education. Hasan Ferid Alnar belonged to this group of talented young Turkish people, which is also known as the Turkish Five. Having spent his childhood in a highly musical household of constant fasil and musical practice, Ferid Alnar was already acknowledged as one of the best qanun performers at the age of 12, in addition to his mastery of classical kemenche. In this context, his competence in traditional music both as a composer and a performer can be considered as the basis of his ability to masterfully utilise classical Turkish music in his polyphonic compositions. The aim of the present paper is to analyse the traditional influence present in the performance of the Taksim movement of Hasan Ferid Alnar’s Suite for violin and piano within the context of makam analysis and violin techniques.
Açıklama
Anahtar Kelimeler
Çağdaş Türk Müziği, Türk Beşleri, Hasan Ferit Alnar, Süit, Taksim, Contemporary Turkish Music, The Turkish Five, Hasan Ferid Alnar, Suite
Kaynak
Balkan Müzik ve Sanat Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
3
Sayı
2
Künye
Çaşka, M. (2021). Hasan Ferit Alnar keman ve piyano süiti taksim bölümünün geleneksel etki analizi . Balkan Müzik ve Sanat Dergisi , 3 (2) , 37-50
