Prof. Dr. Alâeddin Yavaşca’nın eserlerinin estetik temelleri: öz-biçim ilişkisi, tem ilerlemeleri
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Dosyalar
Tarih
2016
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu makale, bestekâr Alâeddin Yavaşca’nın husûsiyle şarkı formundaki bestelerinden birini esas
alarak gelenek bağlamında, başlıkta zikr edilen açılardan ele alıp incelemeyi hedeflemektedir.
Beste söz konusu olduğu vakit, araştırıcı üç fiille muhataptır. “yaratmak”, “bilmek” ve
“yapmak.” Bestekârın yaratma ameliyesi, üzerinde herhangi bir bilimin ya da bilimsel ölçeğin
tasarrufunun olamayacağı bağımsız kısımdır. Ancak yapmak her şeyden evvel özün
görünebilirliğini sağlayacak bir biçim endişesini zorunlu kılar. Nitekim bir sanat eseri öz, biçim
ve üsluptan mürekkeptir ve “estetik beğeni” sanatın bir biçim içinde varoluş ve sunuluş
sebebidir. Yaratma serüveni bir fikrin açınlanması uğruna girişilen bir serüvendir, bir fikirden
ya da herhangi bir nesneden kalkıp nereye denk düşerse oraya gitmek serüveni değildir.
Estetik eleştiri, estetik bir nesneyi gerçek yerine oturtmak, ona gerçek değerini vermektir.
Sanatkârı anlamak, onun bütün eserlerini anlamakla doğru orantılıdır. Bunun için bestekârın
beslendiği kaynaklara doğru yelken açmak gerekir. 640-650 eseri değerlendirmeden bütünlüklü
bir Alâeddin Yavaçca değerlendirmesi yapamayız. Yavaşca’yı bir bütün olarak kavramanın,
bütünlüklü bir Yavaşca eleştirisi yapmanın şartı, onu baştan sona okumuş, eserlerinin öz-biçim
ilişkisine vâkıf olmuş ve çağına, geleneğe ve Türk Mûsıkî tarihine yerleştirmiş olmaktır. Itrî’yi
bilmeden, Dede’yi bilmeden, Z. Ârif Ataergin’i, Saadeddin Kaynak’ı bilmeden Yavaşca’yı
kavramak mümkün değildir. .
Yavaşca’yı (dönemi içinde) diğer bestekârlardan ayıran en mühim fark, geleneğin taşıyıcısı
oluşudur. O, tarz-ı kadîm ile tarz-ı cedîd arasındaki köprünün sahibidir
Yavaşca, müzikal öyküleri kendi içinde sürekli artarak çoğalan, bu bakımdan yeryüzünde bir
başka örneği bulunmayan kadim mûsıkî mirasımızı bugüne, bugünle çatıştırmadan taşımıştır.
Bu, başlı başına bir metod bilgisi, geleneğin bugün içinde inşa ediliş bilgisidir.
Gerek üzerine hazırlanan kitaplarda ve gerekse kendisi ile yapılan çeşitli röportajlarda ve hatta
estetik eleştirmen için bizzat her eserinde, sanatının besin kaynaklarını ve yürüdüğü yolu
göstermiştir. Biz de gelenek bağlamı içinde, onun gösterdiği yollardan yürüyerek gelenekten
yararlanışını bestelerinin öz ve biçim ilişkisi düzeyinde incelenmeye, bestekârın güftesi
Müeyyed Bekman’a ait Nihavend şarkısını, sabit, çizgisel ve türeyen tem ilerlemelerini
kapsayan “tem ilerlemeleri” yöntemi ile inceleyerek değerlendirmeye çalışacağız.
This article, aims to examine Mr. Yavaşca’s work, his song compositions in particular, within the context of tradition and from the perspectives mentioned in the title. Researchers examining musical compositions have to deal with three different acts: “To create”, “to know”, and “to compose”. The act of creation by a composer is an autonomous act to which no science or scientific measurement applies. The act of composing, on the other hand, requires a concern with the form that will make essence visible. Works of art consist of an essence, a form and a style, and “aesthetic taste” is the reason art is a form of existence and presentation. Creation is a journey undertaken so that an idea can be revealed, it is not a random journey that starts from any object and has no destination. Aesthetic criticism aims to put an aesthetic object into its proper place, to appraise its real value. Understanding of an artist is possible to the extent the works of the artist in question are understood. For that, one needs to be ready to go all the way to the sources that inspired the artist. A holistic evaluation of Alâeddin Yavaçca is not possible without taking his 640-650 works into consideration. The prerequisite for understanding Yavaşca and for making a holistic criticism of his works is to have read all of his works, to have a good grasp of the relationship between essence and form in his works, and to place him into the context of his age, tradition, and the history of Turkish Music. It is not possible to understand Yavaşca without a good knowledge of Itrî, Dede, Z. Ârif Ataergin, and Saadeddin Kaynak. The distinguishing characteristic of Yavaşca, compared to other composers of his age, is that he was a bearer of tradition. He stands right on the bridge between the ancient style and the new style. Yavaşca carried the ancient tradition of Turkish music, which is unique in that its musical stories are propagated through constant reproduction, to this day without bringing it into conflict with the contemporary. This in itself requires a solid knowledge of methods and of how to build the tradition in today’s conditions. It is possible to trace the sources of his art and the course he charted, in the books on his work, in the interviews he gave, and for the aesthetic critic, in each one of his works. Using these traces and focusing on the relationship between essence and form, this study aims to examine Yavaşca’s use of tradition as reflected in his Nihavend song, the lyrics of which were written by Müeyyed Bekman, using the method of “thematic transformation” that covers constant, linear and derivate transformation.
This article, aims to examine Mr. Yavaşca’s work, his song compositions in particular, within the context of tradition and from the perspectives mentioned in the title. Researchers examining musical compositions have to deal with three different acts: “To create”, “to know”, and “to compose”. The act of creation by a composer is an autonomous act to which no science or scientific measurement applies. The act of composing, on the other hand, requires a concern with the form that will make essence visible. Works of art consist of an essence, a form and a style, and “aesthetic taste” is the reason art is a form of existence and presentation. Creation is a journey undertaken so that an idea can be revealed, it is not a random journey that starts from any object and has no destination. Aesthetic criticism aims to put an aesthetic object into its proper place, to appraise its real value. Understanding of an artist is possible to the extent the works of the artist in question are understood. For that, one needs to be ready to go all the way to the sources that inspired the artist. A holistic evaluation of Alâeddin Yavaçca is not possible without taking his 640-650 works into consideration. The prerequisite for understanding Yavaşca and for making a holistic criticism of his works is to have read all of his works, to have a good grasp of the relationship between essence and form in his works, and to place him into the context of his age, tradition, and the history of Turkish Music. It is not possible to understand Yavaşca without a good knowledge of Itrî, Dede, Z. Ârif Ataergin, and Saadeddin Kaynak. The distinguishing characteristic of Yavaşca, compared to other composers of his age, is that he was a bearer of tradition. He stands right on the bridge between the ancient style and the new style. Yavaşca carried the ancient tradition of Turkish music, which is unique in that its musical stories are propagated through constant reproduction, to this day without bringing it into conflict with the contemporary. This in itself requires a solid knowledge of methods and of how to build the tradition in today’s conditions. It is possible to trace the sources of his art and the course he charted, in the books on his work, in the interviews he gave, and for the aesthetic critic, in each one of his works. Using these traces and focusing on the relationship between essence and form, this study aims to examine Yavaşca’s use of tradition as reflected in his Nihavend song, the lyrics of which were written by Müeyyed Bekman, using the method of “thematic transformation” that covers constant, linear and derivate transformation.
Açıklama
İnönü Üniversitesi Kültür ve Sanat Dergisi. (2016). Cilt: 2, Sayı:1, 113-124 ss.
Anahtar Kelimeler
Prof. Dr. Alâeddin Yavaşca, Öz-biçim, Estetik, Essence-form, Aesthetic
Kaynak
İnönü Üniversitesi Kültür ve Sanat Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
2
Sayı
1
Künye
Feyzioğlu, N. (2016). Prof. Dr. Alâeddin Yavaşca’nın eserlerinin estetik temelleri: öz-biçim ilişkisi, tem ilerlemeleri. İnönü Üniversitesi Kültür ve Sanat Dergisi. Cilt: 2, Sayı:1, 113-124 ss.
