Atat\u00fcrk ve M\u00fczik
\nAtat\u00fcrk insan hayat\u0131nda m\u00fczi\u011fin \u00e7ok \u00f6nemli bir yeri oldu\u011funa inan\u0131yordu 14 Ekim 1925’te \u0130zmir K\u0131z \u00d6\u011fretmen Okulu’nu ziyaretlerinde \u00f6\u011frencilerin “Hayatta musiki laz\u0131m m\u0131d\u0131r?” sorusuna \u015fu cevab\u0131 vermi\u015fti :<\/p>\n
-“Hayatta musiki laz\u0131m de\u011fildir \u00c7\u00fcnk\u00fc hayat musikidir Musiki ile alakas\u0131 olmayan mahlukat insan de\u011fildir E\u011fer mevzuu bahs olan hayat insan hayat\u0131 ise, musiki behemehal vard\u0131r Musikisiz hayat zaten mevcut olamaz Musiki hayat\u0131n ne\u015fesi, ruhu, s\u00fcruru ve her \u015feyidir Yaln\u0131z musikinin nev’i \u015fayan-\u0131 m\u00fctalaad\u0131r”<\/p>\n
M\u00fczi\u011fin insan hayat\u0131ndaki \u00f4nemine i\u015faret eden ve dinlenecek m\u00fczi^\u011fin \u00e7e\u015fidine dikkati \u00e7eken Atat\u00fcrk, her konuda oldu\u011fu gibi T\u00fcrk M\u00fczi\u011fi konusunda da yenilikler yapmak istemi\u015ftir Ata’n\u0131n T\u00fcrk M\u00fczi\u011fi \u00fczerinde yenilikler yapmak istemesinin temel sebepleri \u015funlard\u0131r :<\/p>\n
1 Ziya G\u00f4kalp’in T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn Esaslar\u0131 eserindeki g\u00f4r\u00fc\u015flerinin etkisi:
\nZiya G\u00f4kalp’in m\u00fczik konusundaki g\u00f4r\u00fc\u015flerini Atat\u00fcrk’\u00fcn payla\u015ft\u0131\u011f\u0131n\u0131 ve bu g\u00f4r\u00fc\u015fler do\u011frultusunda \u00e7al\u0131\u015fmalar yapt\u0131\u011f\u0131m g\u00f4r\u00fcyoruz, G\u00f6kalp’in Say\u0131n Oransay taraf\u0131ndan tamam\u0131 al\u0131nan g\u00f4r\u00fc\u015flerinden k\u0131sa b\u00f6l\u00fcmler \u015funlard\u0131r :<\/p>\n
-”Memleketimizde bunlardan ba\u015fka yan yana ya\u015fayan iki musiki vard\u0131r Bunlardan birisi halk aras\u0131nda kendi kendine do\u011fmu\u015f olan T\u00fcrk Musikisi, di\u011feri Farabi taraf\u0131ndan Bizans’tan terc\u00fcme ve iktibas olunan Osmanl\u0131 Musikisi’dir T\u00fcrk Musikisi ilham ile v\u00fccuda gelmi\u015f, taklitle hari\u00e7ten al\u0131nmam\u0131\u015ft\u0131r Osmanl\u0131 musikisi ise taklit vas\u0131tas\u0131yla hari\u00e7ten al\u0131nm\u0131\u015f ve ancak usulle devam ettirilmi\u015ftir Bunlardan birincisi hars\u0131m\u0131z\u0131n (k\u00fclt\u00fcr\u00fcm\u00fcz\u00fcn ) ikincisi ise medeniyetimizin musikisidir”<\/p>\n
-”Etnografya M\u00fczesi bunlardan ba\u015fka her nahiyedeki lisani savtiyyat (fonetik) ile halk melodilerini (na\u011fmelerini) ya fonograf aletiyle yahut nota usul\u00fc ile zapt eder Demek ki Etnografya M\u00fczesinin behemehal bir foto\u011fraf\u00e7\u0131s\u0131, bir fonograf\u00e7\u0131s\u0131 ve notac\u0131s\u0131 bulunmak laz\u0131md\u0131r Ko\u015fmalar, t\u00fcrk\u00fcler ve na\u011fmeler de hakiki saz \u015fairlerinden al\u0131nmal\u0131d\u0131r”<\/p>\n
-“\u0130stanbul’da mevcut bulunan Dar\u00fclelhan, d\u00fcm-tek usul\u00fcn\u00fcn, yani Bizans musikisinin Dar\u00fclelhan\u0131d\u0131r Bu m\u00fcessese iptidai unsurlar\u0131 halk\u0131n samimi melodilerinde tecelli eden ve Avrupa musikisine tevfikan armonize edildikten sonra asri mahiyet alacak olan hakiki T\u00fcrk musikisine hi\u00e7 ehemmiyet vermemektedir”<\/p>\n
-“Avrupa musikisi girmeden evvel, memleketimizde iki musiki var^d\u0131: Bunlardan biri Farabi taraf\u0131ndan Bizans’tan al\u0131nan \u015fark musikisi, di\u011feri eski T\u00fcrk musikisinin devam\u0131 olan halk melodilerinden ibaretti”<\/p>\n
-“Bug\u00fcn i\u015fte \u015fu \u00fc\u00e7 musikinin kar\u015f\u0131s\u0131nday\u0131z : \u015eark musikisi, garp musikisi, halk musikisi Acaba bunlardan hangisi bizim i\u00e7in millidir? \u015eark musikisinin hem hasta, hem de gayr-\u0131 milli oldu\u011funu g\u00f6rd\u00fck Halk musikisi hars\u0131m\u0131z\u0131n, garp musikisi de yeni medeniyetimizin musikileri oldu\u011fu i\u00e7in her ikisi de bize yabanc\u0131 de\u011fildir O halde milli musikimiz, memleketimizdeki halk musikisiyle garp musikisinin imtizac\u0131ndan do\u011facakt\u0131r Halk musikimiz bir\u00e7ok melodiler vermi\u015ftir Bunlar\u0131 toplar ve garp musikisi usul\u00fcnce armonize edersek hem milli hem de Avrupai bir musikiye malik oluruz”<\/p>\n
Atat\u00fcrk’\u00fcn T\u00fcrk M\u00fczi\u011fi hakk\u0131ndaki g\u00f6r\u00fc\u015fleri ve yapt\u0131\u011f\u0131 yenilikler Ziya G\u00f6kalp’in g\u00f6r\u00fc\u015flerine ve program\u0131na \u00e7ok yak\u0131nd\u0131r Nitekim 1930 y\u0131l\u0131nda Alman gazeteci Emil Ludwig’le yapt\u0131\u011f\u0131 g\u00f6r\u00fc\u015fmede Ludwig’in do\u011fu m\u00fczi\u011fiyle ilgili g\u00f6r\u00fc\u015flerine \u015fu c\u00fcmlelerle itiraz etmi\u015ftir :<\/p>\n
-“Bunlar hep Bizans’tan kalma \u015feylerdir Bizim hakiki musikimiz Anadolu halk\u0131nda i\u015fitilebilir ”<\/p>\n
Bilindi\u011fi gibi Ziya G\u00f6kalp m\u00fczikolog de\u011fildi M\u00fczikle ilgili bilgiler; k\u00f6kl\u00fc bir e\u011fitime dayanm\u0131yordu Eski Yunan m\u00fczi\u011findeki \u00e7eyrek seslerle T\u00fcrk M\u00fczi\u011findeki koma sesleri birbirine kar\u0131\u015ft\u0131rarak, Farabi’yi de i\u015fin i\u00e7ine sokarak T\u00fcrk M\u00fczi\u011fini Yunanl\u0131lara mal edivermi\u015fti \u015eayet bizim m\u00fczi\u011fimiz Yunan k\u00f6kenli olsayd\u0131 bug\u00fcn d\u00fcnyan\u0131n 1 numaral\u0131 m\u00fczi\u011fi olarak her yerde dinlenirdi Yunanl\u0131lar propagandayla bunu sa\u011flarlard\u0131 M\u00fczikolog Muammer Sun, Ziya G\u00f6kalp’in iddialar\u0131yla ilgili olarak g\u00f6r\u00fc\u015flerini \u015f\u00f6yle a\u00e7\u0131klam\u0131\u015ft\u0131r :<\/p>\n
-”Bu konu \u00e7ok tart\u0131\u015f\u0131ld\u0131 Bu m\u00fczik bize Bizans’tan ge\u00e7memi\u015ftir Araplar da bize hediye etmemi\u015flerdir Bu musiki bizim insanlar\u0131m\u0131z\u0131n, ad\u0131 san\u0131 belli insanlar\u0131m\u0131z\u0131n yaratt\u0131\u011f\u0131 musikidir ve musikimizdir Bizim Klasik T\u00fcrk Musikimizi Araplara ve Bizansl\u0131lara maletme ve bir de Bat\u0131l\u0131la\u015fman\u0131n etkisiyle alafranga-alaturka kavgas\u0131 \u00e7\u0131km\u0131\u015f, Bat\u0131l\u0131la\u015fmac\u0131lar alafrangac\u0131, “Aman m\u00fczi\u011fimiz de\u011fi\u015fmesin,, diyenler de alaturkac\u0131 olarak nitelendirilmi\u015flerdir Ba\u015ftan itibaren tamamen yanl\u0131\u015f ve bo\u015fa k\u00fcrek \u00e7ekilmi\u015f bir davad\u0131r ”<\/p>\n
2 Montesqieu’n\u00fcn g\u00f6r\u00fc\u015f\u00fcn\u00fcn etkisi :<\/p>\n
Atat\u00fcrk 1930 y\u0131l\u0131nda Alman gazeteci emil Ludwig’e, Montesqieu’n\u00fcn “Bir milletin musikicilikteki meyline ehemmiyet verilmezse o milleti ilerletmek m\u00fcmk\u00fcn olmaz” s\u00f6z\u00fcn\u00fc okudu\u011funu, tasdik etti\u011fini, bunun i\u00e7in musikimize \u00f6nem verdi\u011fini s\u00f6ylemi\u015ftir 1 Kas\u0131m 1934 tarihinde TBMM’ni a\u00e7\u0131\u015f nutkunda Montesqieu’n\u00fcn g\u00f6r\u00fc\u015f\u00fcne yak\u0131n \u015fu c\u00fcmleyi s\u00f6ylemi\u015ftir :<\/p>\n
-“Bir milletin yeni de\u011fi\u015fikli\u011finde \u00f6l\u00e7\u00fc, musikide de\u011fi\u015fikli\u011fi alabilmesi, kavrayabilmesidir”<\/p>\n
3 M\u00fczik bilginlerinin olmay\u0131\u015f\u0131, sanat seviyesinin d\u00fc\u015f\u00fckl\u00fc\u011f\u00fc<\/p>\n
Atat\u00fcrk d\u00f6neminde T\u00fcrk M\u00fczi\u011fi konusunda yeti\u015fmi\u015f bilginlerimizyoktu Mevcutlar kendi kendilerini yeti\u015ftirmi\u015fti Dar\u00fclelhan’\u0131n e\u011fitimi ye^tersizdi Sanat\u00e7\u0131lar genellikle usta-\u00e7\u0131rak usul\u00fcyle yeti\u015fiyordu Bilgisine g\u00fcvenilir bir m\u00fczik bilginimiz olmamas\u0131 sebebiyle Atat\u00fcrk Ziya G\u00f6kalp’a inanmak durumunda kalm\u0131\u015ft\u0131 Riyaset-i Cumhur Fas\u0131l Heyetinde 1925-1930 y\u0131llan aras\u0131nda neyzenlik yapm\u0131\u015f ve Ata’n\u0131n huzurunda defalarca \u00e7alm\u0131\u015f bulunan Burhanettin \u00d6kte hat\u0131ralannda bu durumu \u015f\u00f6yle dile getiriyor :<\/p>\n
-”Musikimizin tarihini ara\u015ft\u0131rd\u0131, do\u011fru d\u00fcr\u00fcst cevap alamad\u0131 Nazariyat\u0131n\u0131 sordu, iki c\u00fcmleyi yan yana getiremedik Eserleri tahlil ettirmek istedi, sath\u0131ndan daha derinlere inemedik<\/p>\n
en b\u00fcy\u00fck m\u00fcr\u015fit ilimdir, diyen b\u00fcy\u00fck insan bu m\u00fcnevver gen\u00e7lerimizi tarihte kar\u015f\u0131s\u0131nda bulsayd\u0131 memlekette ne alafranga-alaturka davas\u0131, ne de sanat fukaral\u0131\u011f\u0131 bulunurdu”<\/p>\n
8 A\u011fustos 1928 gecesi Sarayburnu konserinden sonra Atat\u00fcrk’\u00fcn etkisi b\u00fcy\u00fck olan me\u015fhur nutkunun sebebini de Burhanettin \u00d6kte hat\u0131ralar\u0131nda \u0130talyan m\u00fczi\u011fi ve M\u0131s\u0131r’\u0131n me\u015fhur \u015fark\u0131c\u0131lar\u0131ndan M\u00fcniret’\u00fcl Mehdiye Han\u0131m’\u0131n konserinden sonra \u00e7ok zay\u0131f bir T\u00fcrk saz heyetinin sahneye \u00e7\u0131karak acemice ”sultani yegah” fasln\u0131 icras\u0131na ba\u011fl\u0131yor Atat\u00fcrk, sinirli bir \u015fekilde konseri terk etmi\u015f, ertesi g\u00fcn gazetelerde \u015fu nutku yay\u0131mlanm\u0131\u015ft\u0131r :<\/p>\n
“- Bu gece burada g\u00fczel bir tesad\u00fcf eseri olarak \u015fark\u0131n en m\u00fcmtaz iki musiki heyetini dinledim Bilhassa sahneyi birinci olarak tezyin eden M\u00fcniret\u00fc’l Mehdiye Han\u0131m sanatkarl\u0131\u011f\u0131nda muvaffak oldu Fakat benim T\u00fcrk hissiyat\u0131m \u00fczerinde art\u0131k bu musiki, bu basit musiki T\u00fcrk’\u00fcn \u00e7ok m\u00fcnke\u015fif ruh ve hissini tatmine kafi gelmez \u015eimdi kar\u015f\u0131da medeni d\u00fcnyan\u0131n musikisi de i\u015fitildi Bu ana kadar \u015eark Musikisi denilen terenn\u00fcmler kar\u015f\u0131s\u0131nda cans\u0131z gibi g\u00f6r\u00fcnen halk, derhal harekete ve faaliyete ge\u00e7ti Hepsi oynuyor ve \u015fen, \u015fat\u0131rd\u0131rlar Tabiat\u0131n icabat\u0131n\u0131 yap\u0131yorlar Bu pek tabiidir Hakikaten T\u00fcrk, f\u0131traten \u015fen \u015fat\u0131rd\u0131r E\u011fer onun bu g\u00fczel huyu bir zaman i\u00e7in fark olunmam\u0131\u015fsa, kendinin kusuru de\u011fildir Kusurlu hareketlerin ac\u0131, felaketli neticeleri Vard\u0131r Bunun fariki olmamak kabahatti”<\/p>\n
Al\u0131nt\u0131d\u0131r<\/p>\n","protected":false},"excerpt":{"rendered":"
Atat\u00fcrk ve M\u00fczik Atat\u00fcrk insan hayat\u0131nda m\u00fczi\u011fin \u00e7ok \u00f6nemli bir yeri oldu\u011funa inan\u0131yordu 14 Ekim 1925’te \u0130zmir K\u0131z \u00d6\u011fretmen Okulu’nu ziyaretlerinde \u00f6\u011frencilerin “Hayatta musiki laz\u0131m m\u0131d\u0131r?” sorusuna \u015fu cevab\u0131 vermi\u015fti : -“Hayatta musiki laz\u0131m de\u011fildir \u00c7\u00fcnk\u00fc hayat musikidir Musiki ile alakas\u0131 olmayan mahlukat insan de\u011fildir E\u011fer mevzuu bahs olan hayat insan hayat\u0131 ise, musiki behemehal … Devam\u0131n\u0131 oku…<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25],"tags":[20836,230],"class_list":["post-1026","post","type-post","status-publish","format-standard","hentry","category-ataturk","tag-ataturk","tag-muzik"],"_links":{"self":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/1026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/comments?post=1026"}],"version-history":[{"count":0,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/1026\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/media?parent=1026"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/categories?post=1026"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/tags?post=1026"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}