{"id":11438,"date":"2025-09-09T07:30:00","date_gmt":"2025-09-09T05:30:00","guid":{"rendered":"https:\/\/baraka.cc\/?p=11438"},"modified":"2025-08-27T10:01:00","modified_gmt":"2025-08-27T08:01:00","slug":"muzik-tarihinin-ilk-devrimcisi-selcuk-manecioglu","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=11438","title":{"rendered":"M\u00fczik Tarihinin \u0130lk Devrimcisi – Sel\u00e7uk Manecio\u011flu"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

Orta\u00e7a\u011f\u2019da kiliselerin ve saraylar\u0131n egemen oldu\u011fu d\u00f6nemde m\u00fczi\u011fi kiliseden \u00e7\u0131kart\u0131p halkla bulu\u015fmas\u0131na yol a\u00e7an Johann Sebastian Bach… Klasik m\u00fczi\u011fin \u00f6zellikle de Barok m\u00fczi\u011fin en \u00f6nemli isimlerinden olan Johann Sebastian Bach, 21 Mart 1685’te Eisenach’ta d\u00fcnyaya geldi 9 ya\u015f\u0131nda anne ve babas\u0131n\u0131 kaybettikten sonra abisi ile birlikte “L\u00fcneburg’daki Mattheus” kilisesine abisi orgcu kendisi de soprano olarak girdi. Kilisedeki Georg B\u00f6hm’den m\u00fczik ad\u0131na fazlas\u0131yla yararland\u0131. Kendisini ve bilgilerini geli\u015ftirmeye hevesli olan Johann, Hamburg’daki saray m\u00fczisyenlerini dinleyerek sanat gereksinimini kar\u015f\u0131la\u015ft\u0131r\u0131p yenilikler katmaya \u00e7al\u0131\u015ft\u0131 1700’l\u00fc y\u0131llar\u0131n ba\u015f\u0131nda Saksonya Weimar orkestras\u0131na kemanc\u0131 olarak girerken ayn\u0131 y\u0131l “Arnstad Manast\u0131r\u0131na” da orgcu olur. Johann burada orgu kendi ki\u015fisel bi\u00e7imine g\u00f6re \u00e7almas\u0131 kilise y\u00f6netiminin ho\u015funa gitmez ve ciddi ele\u015ftiriler al\u0131r. Yetene\u011fi ve eseri ne kadar takdir g\u00f6r\u00fcl\u00fcp be\u011fenilse de otoriterler ile fikir ayr\u0131l\u0131\u011f\u0131 ya\u015famaya ba\u015flar.<\/p>\n\n\n\n

Bunun yan\u0131s\u0131ra kilisede kad\u0131nlar\u0131n bulunmas\u0131na ili\u015fkin k\u0131s\u0131tlamalara da kar\u015f\u0131 gelip ihlal etmesinden dolay\u0131 cezaland\u0131r\u0131l\u0131r. Kiliseden ayr\u0131ld\u0131ktan sonra eserleri ile birlikte kendisi de \u00f6zg\u00fcrl\u00fc\u011fe kavu\u015fur. \u0130lk olarak Brandenburg kon\u00e7ertolar\u0131n\u0131 besteler. Brandenburg kon\u00e7ertolar\u0131 m\u00fczik tarihindeki ilk kilise ve saray d\u0131\u015f\u0131nda bestelenmi\u015f eserler olarak bilinirken orkestra e\u015flikli solo \u00e7alg\u0131 eseri olarak da bilinmektedir Brandenburg kon\u00e7ertolar\u0131ndan sonra Bach’\u0131n di\u011fer eserleri ve d\u00fc\u015f\u00fcnceleri ve m\u00fczik \u00e7al\u0131\u015fmalar\u0131 da m\u00fczi\u011fe y\u00f6n verip g\u00fcn\u00fcm\u00fczdeki m\u00fczi\u011fin olu\u015fmas\u0131na da \u00f6nc\u00fcl\u00fck eder. Barok D\u00f6nem sonras\u0131 Klasik D\u00f6nem, Romantik D\u00f6nem ve daha sonraki d\u00f6nemler olu\u015furken t\u00fcm bu d\u00f6nemlerin bestecilerinin m\u00fczik temelinde Bach’\u0131n armonisi bulunmaktad\u0131r.<\/p>\n\n\n\n

Besteciler Bach’\u0131n \u00e7al\u0131\u015fmalar\u0131ndan ve d\u00fc\u015f\u00fcncelerinden yararlanarak kendi d\u00fc\u015f\u00fcncelerini ve m\u00fcziklerini olu\u015fturmu\u015flard\u0131r. \u00d6rnek verecek olursak \u00f6zellikle de Klasik D\u00f6nemin en \u00f6nemli iki bestecisi olan Wolfgang Amadeus Mozart ile Ludwig van Beethoven, Bach’\u0131n olu\u015fturdu\u011fu \u015femada hareket ederek Bach’dan sonra m\u00fczikte devrim yaratm\u0131\u015f besteciler olarak bilinmektedir Klasik d\u00f6nemdeki bu iki bestecinin en \u00f6nemli eserlerine bak\u0131ld\u0131\u011f\u0131nda Mozart “Saraydan K\u0131z Ka\u00e7\u0131rma Operas\u0131, Figaronun D\u00fc\u011f\u00fcn\u00fc” gibi bestelemi\u015f oldu\u011fu eserler ile saray y\u00f6netimi ile dalga ge\u00e7mektedir. Yine ayn\u0131 d\u00f6nemde Beethoven ilk zamanlarda hayran\u0131 oldu\u011fu Napoleon i\u00e7in besteledi\u011fi 5. Senfonisini Napoleon’un y\u00f6netime ge\u00e7mesiyle olu\u015fturdu\u011fu hayal k\u0131r\u0131kl\u0131klar\u0131 sebebiyle besteci bu eserin ismini de\u011fi\u015ftirip “Bir Kahraman\u0131n An\u0131s\u0131na” ba\u015fl\u0131\u011f\u0131n\u0131 koydu\u011fu bilinir. <\/p>\n\n\n\n

Beethoven’\u0131n en \u00e7ok bilinen eseri olan “9. Senfonisi” ise m\u00fcziksel, d\u00fc\u015f\u00fcnce ve de teorik olarak m\u00fczikte devrim yaratm\u0131\u015ft\u0131r. Bach’\u0131n Brandenburg kon\u00e7ertolar\u0131 ile m\u00fczikte ba\u015flatt\u0131\u011f\u0131 yenili\u011fi Mozart ve Beethoven’dan sonra di\u011fer besteciler de kendi d\u00f6nemlerinde, kendi d\u00fc\u015f\u00fcnceleriyle birle\u015ftirip geli\u015ftirmi\u015f ve g\u00fcn\u00fcm\u00fcze kadar gelmesini sa\u011flam\u0131\u015ft\u0131r Afrikadaki geleneksel m\u00fczkten kaynaklanan caz armonik olarak incelendi\u011finde Bach’\u0131n eserlerine ve armonilerine benzemektedir. 1700’l\u00fc y\u0131llarda ya\u015famas\u0131na ra\u011fmen 19.y\u00fczy\u0131l\u0131n m\u00fczi\u011fine de bir altyap\u0131 haz\u0131rlam\u0131\u015ft\u0131r., m\u00fczikal d\u00fc\u015f\u00fcnceleri, eserleri ve armonisi pop\u00fcler m\u00fczi\u011finde olu\u015fmas\u0131na katk\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Bach’\u0131n ba\u015fl\u0131ca eserleri:
-Brandenburg kon\u00e7ertolar\u0131
-Re Min\u00f6r Piyano kon\u00e7ertosu
-Orkestra S\u00fcitleri
-Keman kon\u00e7ertolar\u0131
-\u0130ki Keman ve Yayl\u0131 \u00c7alg\u0131lar i\u00e7in Kon\u00e7ertolar
-\u00dc\u00e7 enstr\u00fcmanl\u0131 Kon\u00e7ertolar<\/p>\n","protected":false},"excerpt":{"rendered":"

Orta\u00e7a\u011f\u2019da kiliselerin ve saraylar\u0131n egemen oldu\u011fu d\u00f6nemde m\u00fczi\u011fi kiliseden \u00e7\u0131kart\u0131p halkla bulu\u015fmas\u0131na yol a\u00e7an Johann Sebastian Bach… Klasik m\u00fczi\u011fin \u00f6zellikle de Barok m\u00fczi\u011fin en \u00f6nemli<\/p>\n","protected":false},"author":17,"featured_media":11439,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[40,67,1,39],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2025\/08\/ARGASDI-SAYI-78-KALITELI-12.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-2Yu","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11438"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11438"}],"version-history":[{"count":3,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11438\/revisions"}],"predecessor-version":[{"id":11473,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11438\/revisions\/11473"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/11439"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11438"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11438"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}