{"id":9331,"date":"2023-03-19T15:44:51","date_gmt":"2023-03-19T13:44:51","guid":{"rendered":"https:\/\/baraka.cc\/?p=9331"},"modified":"2023-03-19T15:46:16","modified_gmt":"2023-03-19T13:46:16","slug":"kibris-halk-muzigi-tahsin-oygar","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=9331","title":{"rendered":"K\u0131br\u0131s Halk M\u00fczi\u011fi – Tahsin Oygar"},"content":{"rendered":"

K\u0131br\u0131s\u2019ta m\u00fczik tarihi konusu, \u00fczerine yeterince e\u011filinmemi\u015f, ciddi kaynak s\u0131k\u0131nt\u0131s\u0131 ya\u015fanan \u00f6nemli bir aland\u0131r ifadesi kesinlikle yanl\u0131\u015f olmaz. K\u0131br\u0131s halklar\u0131n\u0131n s\u00f6zl\u00fc tarih\u00e7ilerinin \u00e7ok \u00f6nemli derlemeleri olmas\u0131na ra\u011fmen, bunlar genelde eserler \u00f6l\u00e7e\u011finde ve yak\u0131n tarihe ili\u015fkin bilgilerden \u00f6teye gidememektedir. Benim ula\u015fabildi\u011fim birka\u00e7 tane de y\u00fcksek lisans tezi d\u0131\u015f\u0131nda san\u0131r\u0131m en kapsaml\u0131 ara\u015ft\u0131rma K\u0131br\u0131sl\u0131 Elen etnom\u00fczikolog Nicoletta Demetriou ve \u0130ngiliz m\u00fczikolog Jim Samson\u2019un yazd\u0131\u011f\u0131 \u201cMusic in Cyprus\u201d kitab\u0131d\u0131r. <\/i>Fakat bu \u00e7al\u0131\u015fma da 1878\u2019den 1960\u2019a kadarki \u0130ngiliz s\u00f6m\u00fcrge d\u00f6nemine odaklanmaktad\u0131r. Arkeolojik kaz\u0131lara bak\u0131ld\u0131\u011f\u0131nda ise m\u00fczikle ba\u011flant\u0131l\u0131 benim ula\u015fabildi\u011fim bilinen en eski eser, \u0130sa\u2019dan \u00f6nce 600-750 y\u0131llar\u0131na ait oldu\u011fu tespit edilen K\u0131br\u0131s\u2019ta bulunmu\u015f pi\u015firilmi\u015f toprak heykelciktir. \u015eu anda Viyana\u2019da Kunsthistorisches M\u00fczesi\u2019nde sergilenmekte olan heykelde iki fl\u00fct \u00e7alan bir m\u00fczisyen ve iki tane dans\u00e7\u0131 resmedilmektedir.<\/p>\n

\"figure2\"<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

\u00c7oban fl\u00fct\u00fc ve tampoutsia(bir \u00e7e\u015fit tef) ile ba\u015flayan enstr\u00fcmanlar\u0131m\u0131z keman, lavta, darbuka, ud ve akordeon ile devam etti. Daha sonralar\u0131 ise davul ve zurna da eklendi halk\u0131n m\u00fczi\u011fine. Yukar\u0131da da s\u00f6yledi\u011fim gibi K\u0131br\u0131s\u2019ta m\u00fczik tarihi yeterince ara\u015ft\u0131r\u0131lm\u0131\u015f bir konu de\u011fi. Bu makalenin \u00a0de bir ara\u015ft\u0131rma yaz\u0131s\u0131ndan \u00e7ok provoke eden, tart\u0131\u015fma ve ara\u015ft\u0131rma motivasyonu yaratmas\u0131 hedeflenerek kaleme al\u0131nd\u0131\u011f\u0131n\u0131 ifade etmek isterim. Eksik ve yanl\u0131\u015f \u00e7\u0131kar\u0131mlar\u0131n olabilece\u011fi riskini de g\u00f6ze alarak \u015f\u00f6yle devam edelim. K\u0131br\u0131s halk m\u00fczi\u011fi tarihsel olarak olduk\u00e7a g\u00fc\u00e7l\u00fc ve d\u00fcnya m\u00fczik tarihine g\u00f6re olduk\u00e7a farkl\u0131 ve e\u015fsiz bir geli\u015fim sergilemi\u015ftir. D\u00fcnya\u2019da m\u00fczi\u011fin en kaba ve temel kategorizasyonu klasik m\u00fczik ve halk m\u00fczi\u011fi \u015feklinde yap\u0131labilir. Klasik m\u00fczik genellikle saray i\u00e7in \u201csoylulara\u201d, toplumun \u201celitlerine\u201d \u00f6zel, mektepli m\u00fczisyenlerin eserlerinden, halk m\u00fczi\u011fi ise alayl\u0131 ve halk\u0131n i\u00e7inden m\u00fczisyenlerin halk i\u00e7in yapt\u0131klar\u0131 eserlerden olu\u015fur. Genelde d\u00fcnyada m\u00fczi\u011fin geli\u015fimi bu iki kategorinin izinde ger\u00e7ekle\u015fmektedir. Her ne kadar ge\u00e7i\u015fler ve istisnalar olsa da bu iki kategori kendi t\u00fcrlerinin geli\u015fim tarihini olu\u015fturmu\u015ftur. Burada yak\u0131n co\u011frafya T\u00fcrkiye\u2019nin, T\u00fcrk \u201cSanat\u201d musikisi ve halk m\u00fczi\u011fi anlay\u0131\u015f\u0131na bir parantez a\u00e7arak asl\u0131nda T\u00fcrk \u201cSanat\u201d musikisi denilen \u015feyin Klasik T\u00fcrk M\u00fczi\u011fi oldu\u011funu ve buradaki anlay\u0131\u015f\u0131n bilin\u00e7li veya bilin\u00e7sizce halk m\u00fczi\u011fini sanat olmamakla su\u00e7lad\u0131\u011f\u0131n\u0131 s\u00f6ylemekte yarar g\u00f6r\u00fcyorum. K\u0131br\u0131s\u2019\u0131n farkl\u0131l\u0131\u011f\u0131na ve e\u015fsizli\u011fine geri d\u00f6necek olursak; K\u0131br\u0131s\u2019ta klik olmu\u015f veya gelenek haline gelmi\u015f, kendi kurallar\u0131, bestecileri ve eserleri olan bir klasik m\u00fczikten veya daha do\u011frusu klasik m\u00fczik tarihinden s\u00f6z etmek m\u00fcmk\u00fcn de\u011fil. Ama bunun tam tersine inan\u0131lmaz bir halk m\u00fczi\u011fi tarihi mevcut. Bunun \u00e7e\u015fitli sebepleri olabilir fakat en g\u00f6ze \u00e7arpan\u0131 bence, klasik m\u00fczi\u011fin geli\u015fti\u011fi, g\u00fc\u00e7lendi\u011fi ve kurumsalla\u015ft\u0131\u011f\u0131 her yerde oldu\u011fu gibi mutlak, egemen ve uzun s\u00fcreli bir saray saltanat\u0131n\u0131n olmay\u0131\u015f\u0131! Aksine K\u0131br\u0131s\u2019a genelde di\u011fer imparatorluklar\u0131n veya egemenlerin ge\u00e7i\u015f, ikmal, dinlenme, s\u00fcrg\u00fcn, stratejik bir yer gibi \u00e7e\u015fitli bak\u0131\u015f a\u00e7\u0131lar\u0131 ile bakmalar\u0131 olabilir diye d\u00fc\u015f\u00fcn\u00fcyorum. Mesela Orta \u00c7a\u011f\u2019dan \u00f6nce bir\u00e7ok kez el de\u011fi\u015ftiren K\u0131br\u0131s, Ha\u00e7l\u0131 Seferleri s\u0131ras\u0131nda Hristiyanl\u0131\u011f\u0131n ve Bat\u0131 Avrupa medeniyetinin \u00f6nemli bir ileri karakoluydu.<\/p>\n

K\u0131br\u0131s\u2019ta halk m\u00fczi\u011finin e\u015fsizli\u011fine ve g\u00fcc\u00fcne \u00f6rnekler vermeye devam edelim. Osmanl\u0131 egemenli\u011fi d\u00f6neminde Mevlevi Tekkesi\u2019nin kurulmas\u0131n\u0131n bir sebebi de Osmanl\u0131 klasik m\u00fczi\u011finin adada yer edinmesiydi; fakat bu da K\u0131br\u0131s klasik m\u00fczi\u011fini olu\u015fturmay\u0131 ba\u015faramam\u0131\u015ft\u0131r.<\/p>\n

Ba\u015fka bir \u00f6rnek verecek olursak, 1413\u20131426 y\u0131llar\u0131 aras\u0131nda K\u0131br\u0131s kral\u0131 olan Janus, k\u0131z\u0131 Anna\u2019n\u0131n d\u00fc\u011f\u00fcn\u00fc i\u00e7in kendi deyimi ile \u201canakaradan\u201d (Fransa) saray m\u00fczisyenleri getirtmi\u015f. M\u00fczisyenler halk\u0131n i\u00e7ine kar\u0131\u015f\u0131p halk m\u00fczi\u011fi ezgilerini polifonik (\u00e7ok sesli) motiflere ve baladlara \u00e7evirip besteler yapm\u0131\u015f. Klasik bir m\u00fczik gelene\u011fi olmayan K\u0131br\u0131s\u2019ta mecburen halk m\u00fczi\u011fi klasik polifonik besteleri belirlemi\u015f. Bu 159 sayfadan olu\u015fan el yazmalar\u0131 \u015fu an Torino Ulusal K\u00fct\u00fcphanesi\u2019nde bulunmakta. \u0130nan\u0131n bu anlay\u0131\u015f hala daha g\u00fcn\u00fcm\u00fcze kadar n\u00fcf\u00fbz etmi\u015f durumdad\u0131r. Bu co\u011frafyadaki insanlar hangi tarzda olursa olsun kendi halk m\u00fczi\u011fi ezgilerinin icra edilmesini veya bu yeni tarzlara uyarlanmas\u0131n\u0131 hep sevdi, hep destekledi. Bug\u00fcn gerek Cumhurba\u015fkanl\u0131\u011f\u0131 Senfoni Orkestras\u0131 gerek belediye senfoni orkestralar\u0131 veya di\u011fer filarmoniler hala daha K\u0131br\u0131s halk m\u00fczi\u011fi eserlerini klasik tarzlarda icra etmeye \u00e7al\u0131\u015fmaktad\u0131r.<\/p>\n

Bug\u00fcn klasik m\u00fczik de halk m\u00fczi\u011fi de hizmet etti\u011fi s\u0131n\u0131fsal \u00e7\u0131karlar ile de\u011ferlendirilmelidir. \u00c7\u00fcnk\u00fc egemenler g\u00fcn\u00fcm\u00fcz kapitalist d\u00fcnyas\u0131nda satabilece\u011fi m\u00fczi\u011fi, ister halk m\u00fczi\u011fi, ister klasik m\u00fczik olsun, pop\u00fcler oldu\u011fu s\u00fcrece birbirinden ay\u0131rm\u0131yor. Bunu bir tek aristokrasi ay\u0131rm\u0131\u015f, onlar da tarihe g\u00f6m\u00fclm\u00fc\u015ft\u00fcr. Fakat K\u0131br\u0131s \u00f6zelinde bizim m\u00fczik tarihimizin bu e\u015fsiz fark\u0131n\u0131 bilmek, gelece\u011fimize \u0131\u015f\u0131k tutacak ve belki de bu iddian\u0131n do\u011frulu\u011fu veya yanl\u0131\u015fl\u0131\u011f\u0131 \u00fczerinden giri\u015filecek tart\u0131\u015fmalara ilham verecektir.<\/p>\n

 <\/p>\n

\"mousa2\"<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Kaynaklar<\/em><\/i><\/p>\n

http:\/\/www.cypnet.co.uk\/ncyprus\/culture\/music\/medieval\/index.html<\/a><\/p>\n

https:\/\/dergipark.org.tr\/en\/download\/article-file\/857269<\/a><\/p>\n

https:\/\/polen.itu.edu.tr:8443\/server\/api\/core\/bitstreams\/9a66819a-cee3-4f7a-a744-67bfe1449078\/content<\/a><\/p>\n

Dil-Edebiyat ve Folkloruyla K\u0131br\u0131s T\u00fcrk K\u00fclt\u00fcr\u00fc \u2013 Erdo\u011fan Sara\u00e7o\u011flu<\/p>\n

Halkbilmi Sempozyumu III \u2013 Fatma K\u00fckrer<\/p>\n

https:\/\/www.routledge.com\/Music-in-Cyprus\/Samson-Demetriou\/p\/book\/9780367598082<\/a><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/Music_of_Cyprus<\/p>\n

https:\/\/dergipark.org.tr\/en\/download\/article-file\/804213<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

K\u0131br\u0131s\u2019ta m\u00fczik tarihi konusu, \u00fczerine yeterince e\u011filinmemi\u015f, ciddi kaynak s\u0131k\u0131nt\u0131s\u0131 ya\u015fanan \u00f6nemli bir aland\u0131r ifadesi kesinlikle yanl\u0131\u015f olmaz. K\u0131br\u0131s halklar\u0131n\u0131n s\u00f6zl\u00fc tarih\u00e7ilerinin \u00e7ok \u00f6nemli derlemeleri<\/p>\n","protected":false},"author":15,"featured_media":9333,"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":[40,67,38,1],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2023\/03\/mousa2.jpg","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-2qv","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/9331"}],"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\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9331"}],"version-history":[{"count":3,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/9331\/revisions"}],"predecessor-version":[{"id":9336,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/9331\/revisions\/9336"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/9333"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9331"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9331"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9331"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}