Türk müzik folklorunda şiir, mûsikî ve raksın tarihi birlikteliği
Yükleniyor...
Dosyalar
Tarih
2017
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Türk müzik folkloru, üzerinde yeterince çalışmanın yapılamadığı alanlardan biri olarak durmaya devam etmektedir. Türk müzik kültüründe şiir ile musikinin birlikteliği meselesi de doğal olarak çok fazla irdelenmemiştir. Türk kültür tarihine bakılınca bu birlikteliğin, şaman denilen dinî-mistik şahsiyetlerin törenleriyle ilk kez başladığı görülecektir. Bu birliktelikte ayrıca üçüncü bir unsur daha vardır ki; o da danstır. Şamanlara ait rakslar bu birlikteliğin incelendiğinde görülecektir ki; Türk tarihinin en eski şairleri olmanın yanında ayrıca musikişinasları ve halk dansçılarıdır da. Şiirin, musikinin ve raksın bir arada icra edildiği o eski icra geleneği, Türklerin İslamiyet"i kabul etmesiyle bozulmamıştır. Bu tarihten itibaren şaman veya kam törenlerindeki şiirin, musikinin ve raksın birlikteliği son bulmamış aksine mahiyet değiştirerek icrasına devam etmiştir. Türk - İslam dünyasında özellikle on üçüncü asırdan sonra Mevlevilik ve Alevi-Bektaşilik gibi tasavvufi ekollerin sayılarının artması sonucu, bu üçlü birliktelik daha farklı bir mecraya sürüklenerek devam etmiştir. Tasavvufi gelenek çerçevesinde şiir, musiki ve raks, Mevlevilik adabına uygun olarak "Mevlevi Semâ" Töreni"ni oluştururken; Alevi-Bektaşi geleneği çerçevesinde ise şiir ve musikiye "Alevi-Bektaşi Semâh Töreni" eşlik etmiştir. XVI. Asırdan itibaren ise tasavvufi cereyana ek olarak âşıklar ortaya çıkmış ve âşıklık geleneği çerçevesinde din dışı konularda yazdıkları şiirleri sazları ile icra etmeye başlamışlardır. Âşık sanatında farklı olarak sadece şiir ile musikinin birlikteliğinden bahis olunabilmektedir. Ritüellerin zayıflaması ile şiir ile musiki üçlü birliktelikten ayrılarak raksın dışında bir bütün vücuda getirmişlerdir.
Turkish music folklore has gone on being one of the fields that the studies have been done sufficiently on it. The matter on the association of poem and music in Turkish music culture has not been reviewed naturally too much. When the history of Turkish culture is considered, it will be seen that this association started firstly in the religious-mystic persons' ceremonies that they are named as Shamanist. Moreover, this association has got a third factor that it is dance. Belly dances belonging to Shamanists comprise the third section of this association. When it is reviewed, it will be seen that Shamanists are the oldest poets in Turkish history, and also they are music lovers and folk dancers. The old performance tradition that poem, music and belly dance were performed together wasn't destroyed as Turks accepted Islam. The association between poem, music and belly dance didn't end in Shamanist or Kam ceremonies from the date but it changed its essence and it gone on its performance. As a result that there was an increase in the number of sufic ecoles such as Mevleviyeh and Alawism-Bektashism in TurkishIslam world especially as following thirteenth century, this triple association gone on as getting into the different channel. While poem,music and belly dance provide “Mevlevi Heaven Ceremony” properly to Mevleviyeh customs within the frame of the sufic tradition; “Alawite-Bektashi Heaven Ceremony” took with poem and music within the frame of Alawite-Bektashi tradition. Lovers showed up as additional to the sufic movement from XVI. century and within the frame of devotion tradition, people started to perform their poems with their withe which were not about the religion. The association of poem and music would be only mentioned differently in the art of lovers. They made poem and music in a complete nature except from belly dance as they separated from the triple association with the declination in rituals.
Turkish music folklore has gone on being one of the fields that the studies have been done sufficiently on it. The matter on the association of poem and music in Turkish music culture has not been reviewed naturally too much. When the history of Turkish culture is considered, it will be seen that this association started firstly in the religious-mystic persons' ceremonies that they are named as Shamanist. Moreover, this association has got a third factor that it is dance. Belly dances belonging to Shamanists comprise the third section of this association. When it is reviewed, it will be seen that Shamanists are the oldest poets in Turkish history, and also they are music lovers and folk dancers. The old performance tradition that poem, music and belly dance were performed together wasn't destroyed as Turks accepted Islam. The association between poem, music and belly dance didn't end in Shamanist or Kam ceremonies from the date but it changed its essence and it gone on its performance. As a result that there was an increase in the number of sufic ecoles such as Mevleviyeh and Alawism-Bektashism in TurkishIslam world especially as following thirteenth century, this triple association gone on as getting into the different channel. While poem,music and belly dance provide “Mevlevi Heaven Ceremony” properly to Mevleviyeh customs within the frame of the sufic tradition; “Alawite-Bektashi Heaven Ceremony” took with poem and music within the frame of Alawite-Bektashi tradition. Lovers showed up as additional to the sufic movement from XVI. century and within the frame of devotion tradition, people started to perform their poems with their withe which were not about the religion. The association of poem and music would be only mentioned differently in the art of lovers. They made poem and music in a complete nature except from belly dance as they separated from the triple association with the declination in rituals.
Açıklama
Anahtar Kelimeler
Şiir, Musiki, Raks, Dans, Âşık Musikisi, Mevlevi, Semâ’I, Bektaşi Semâhı, Şaman Musikisi, Poem, Music, Belly Dance, Minstrel Music, Mevlevi Semai, Bektashi Semahi, Shamanist Music
Kaynak
Uluslararası Türkçe Edebiyat Kültür Eğitim (TEKE) Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
6
Sayı
2