KONSER SALONLARINDAN RADYO STÜDYOSUNA (1927): CUMHURİYET DÖNEMİNİN İLK TÜRK MÛSİKİSİ RADYO SANATÇILARI VE İLK RADYO KONSERLERİ
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Tarih
2019
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info:eu-repo/semantics/openAccess
Özet
Öz: Cumhuriyet döneminin ilk yıllarında (1920’li yıllar), konserler ve müzik programları genellikle konser salonları, gazinolar, okullar, lokantalar, kahvehaneler, meydanlar ve parkların yanı sıra konaklar ve evlerde tertip edilirdi. Ağırlıklı olarak İstanbul’da yapılan bu müzik etkinliklerinin dinleyici kitlesi, yalnızca o anda orada bulunanlarla sınırlı kalırdı. Fakat 6 Mayıs 1927’de İstanbul Radyosu’nun düzenli yayınlarının başlaması, bu sınırlı dinleyici kitlesinin Alaturka, Alafranga, halk müziği ve caz gibi her türden müzik programlarına yurt çapında erişimini kolaylaştırdı. Radyo yayınları, bir yandan çoğu dinleyicinin sadece adını duyduğu ya da duymadığı ünlü müzik icracılarının seslerini ve sazlarını radyodan dinleme fırsatı sağlarken, diğer yandan daha önce dinleyemedikleri Batı müziği formlarını tanıma fırsatı sağladı. Ayrıca Cumhuriyet döneminin kültür politikaları dahilinde halkın kulağının Batı müziğine alıştırılması yönündeki hedefine ulaşması için Radyo yayınları, en ideal araç konumundaydı. Bu araştırma, 1927’de kurulan İstanbul Radyosu’nun ilk döneminde, Türk müziği programlarında yer alan sanatçıların kimler olduğuna, Radyo konserlerindeki Türk müziği programlarının içeriğinin nasıl olduğu ve hangi bestecilerin eserlerinin icra edildiğine odaklanmıştır. Bu araştırmanın konusu kapsamında, arşiv taraması ile elde edilen kitap, dergi, gazete, fotoğraf ve karikatürler gibi dokümanlarda, İstanbul Radyosu’nun ilk dönemine (1927) ait yayın programları tespit edilerek incelenmiş ve betimlenmiştir. Bu yönüyle betimsel bir araştırma özelliği de taşımaktadır. Ayrıca Osmanlıca yazılmış bazı metinlerin, Latin alfabesine çeviri yazıları yapılmış ve Türk müziği tarihi literatürüne katkı sağlanmıştır. Bu araştırmada, İstanbul Radyosu’nun ilk dönemi olan 1927 yılında, programlarının yaklaşık %80’inin müzik yayınlarından oluştuğu ve bu yayınlardan %37,61’lik bir oranla en fazla Türk müziği yayınları yapıldığı, Türk mûsikîsi programlarının Stüdyo Mûsikî Heyeti tarafından icra edilmekle birlikte, ikili, üçlü veya daha fazla sayıda hânende ve sâzendenin bir araya gelerek farklı Türk müziği icra takımları oluşturdukları, Türk mûsikîsi programlarının çoğu zaman “fasıl” şeklinde yapıldığı, dönemin icra üslûbunun klasik tarz icradan çok piyasa tarzı icrayı yansıttığı ve Türk mûsikîsi icralarında viyolonsel, piyano ve armonyum gibi Batı enstrümanlarının da kullanıldığı ulaşılan sonuçlardan bazılarıdır.
Öz: In the early years of the Republican era (the 1920s), concerts and music programs were often organized in concert halls, night-clubs, schools, restaurants, coffeehouses, squares and parks, as well as in mansions and houses. The audience of these music activities, that were mainly held in Istanbul, was limited only to the current audience. However, the debut of regular broadcasts at Istanbul Radio on May 6, 1927 facilitated the access of this limited audience to all kinds of music programs such as Alaturka, Alafranga, folk music and jazz throughout the country. While the radio broadcasts provided many listeners with the opportunity to listen to the vocal and instrumental performances of famous music performers, who had been never or hardly heard about, on the radio on the one hand, they also provided the opportunity for them to familiarize with the forms of Western music they had not been able to listen to before. In addition, radio broadcasts were the most ideal means for the cultural policies of the Republican era to reach their goal of accustoming the ears of the people to Western music. This study focuses on the artists who took part in the Turkish music programs, the content of Turkish music programs in Radio concerts and the composers whose works were performed in the early period of Istanbul Radio, which was established in 1927. Within the scope of this study, the broadcast programs of the early period (1927) of Istanbul Radio were identified, analyzed and described through such documents as books, magazines, newspapers, photographs and comics obtained through an archive research. In this respect, our research has a descriptive feature, as well. In addition, certain texts written in Ottoman Turkish were transcribed into the Latin alphabet, which is considered a contribution to the literature on the history of Turkish music. Some of the findings of this study are: that in the early period of Istanbul Radio, which is 1927, approximately 80% of its programs consisted of music broadcasts, and Turkish music accounted for the highest rate in these broadcasts with 37.61%; that although Turkish Music programs were mostly performed by Studio Music Groups, duets, triplets or more performers or artists also came together to form different Turkish music performance teams; that Turkish music programs were often made in the form of “fasıl" (Classical Turkish Music performance); that the classical style of the period reflected the market-style performance rather than the classical style; and that Western instruments such as cello, piano and harmonium were also used in Turkish music performances.
Öz: In the early years of the Republican era (the 1920s), concerts and music programs were often organized in concert halls, night-clubs, schools, restaurants, coffeehouses, squares and parks, as well as in mansions and houses. The audience of these music activities, that were mainly held in Istanbul, was limited only to the current audience. However, the debut of regular broadcasts at Istanbul Radio on May 6, 1927 facilitated the access of this limited audience to all kinds of music programs such as Alaturka, Alafranga, folk music and jazz throughout the country. While the radio broadcasts provided many listeners with the opportunity to listen to the vocal and instrumental performances of famous music performers, who had been never or hardly heard about, on the radio on the one hand, they also provided the opportunity for them to familiarize with the forms of Western music they had not been able to listen to before. In addition, radio broadcasts were the most ideal means for the cultural policies of the Republican era to reach their goal of accustoming the ears of the people to Western music. This study focuses on the artists who took part in the Turkish music programs, the content of Turkish music programs in Radio concerts and the composers whose works were performed in the early period of Istanbul Radio, which was established in 1927. Within the scope of this study, the broadcast programs of the early period (1927) of Istanbul Radio were identified, analyzed and described through such documents as books, magazines, newspapers, photographs and comics obtained through an archive research. In this respect, our research has a descriptive feature, as well. In addition, certain texts written in Ottoman Turkish were transcribed into the Latin alphabet, which is considered a contribution to the literature on the history of Turkish music. Some of the findings of this study are: that in the early period of Istanbul Radio, which is 1927, approximately 80% of its programs consisted of music broadcasts, and Turkish music accounted for the highest rate in these broadcasts with 37.61%; that although Turkish Music programs were mostly performed by Studio Music Groups, duets, triplets or more performers or artists also came together to form different Turkish music performance teams; that Turkish music programs were often made in the form of “fasıl" (Classical Turkish Music performance); that the classical style of the period reflected the market-style performance rather than the classical style; and that Western instruments such as cello, piano and harmonium were also used in Turkish music performances.
Açıklama
Anahtar Kelimeler
Kaynak
Motif Akademi Halkbilimi Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
12
Sayı
27
