Tanburi Cemil Bey'in saz eserlerindeki Perde/Çeşni ilişkilerinin haritalandırılması
Mapping the Perde/Çeşni relationships in Tanburî Cemil Bey's instrumental works
- Tez No: 953878
- Danışmanlar: PROF. DR. OZAN BAYSAL
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2025
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Müzikoloji ve Müzik Teorisi Ana Bilim Dalı
- Bilim Dalı: Müzik Teorisi ve Kompozisyon Bilim Dalı
- Sayfa Sayısı: 155
Özet
Tanburi Cemil Bey'in Saz Eserlerindeki Perde/Çeşni İlişkilerinin Haritalandırılması başlıklı bu yüksek lisans tezi, Osmanlı-Türk müziği geleneğinin en etkili bestecilerinden biri olan Tanburi Cemil Bey'in saz eserlerini katmanlı bir analiz süzgecinden geçirerek, makamsal yapılar arasındaki geçiş stratejilerini ve ahenk ilişkilerini sistematik biçimde incelemeyi amaçlamaktadır. Cemil Bey'in hem virtüoz bir icracı hem de yapısal düzeyde bestecilik anlayışı geliştirmiş bir müzikal figür olduğu varsayımı üzerine inşa edilen çalışmada, repertuarın seçilen saz eseri analiz edilmiştir. Çalışmanın ana ekseni, makamsal yapının içindeki çeşni temelli dönüşüm süreçlerinin yapısal olarak incelenmesine dayanmaktadır. Bu kapsamda, Cemil Bey'in eserlerinde sıklıkla gözlemlenen örtük geçkiler, modülasyon benzeri yapılar, alışılmadık karar perdeleri ve biçim içi çeşitlemeler detaylı biçimde sınıflandırılmış ve açıklanmıştır. Geleneksel müzik analiz yaklaşımlarının yanında, 2023–2024 yılları arasında yürütülen“Ahenk İlişkiler Ağı ile Makam Evrenini Haritalandırmak”(Proje No: 122K923) başlıklı TÜBİTAK-1001 projesi kapsamında geliştirilen MakamNetz platformu ve bu platformun sunduğu Perde/Çeşni Dönüşüm Modeli, çalışmanın yöntemsel çerçevesini oluşturmaktadır. Model, her biri belirli dönüşüm ilkelerine dayanan Girift Dönüşüm, Perde Eksenli Dönüşüm ve Kaydırım gibi kavramları esas alarak eserlerdeki makamsal geçişleri hem görsel hem de işitsel bağlamda analiz etmeye olanak tanımaktadır. Ayrıca, çoklu dönüşüm örüntüleri üzerinden bazı bölümlerde farklı dönüşüm türlerinin de aynı anda işlediği karmaşık yapılar da tespit edilmiştir. Tezin analiz bölümlerinde, Cemil Bey'in farklı makamlarda ve bazıları bizzat kendisi tarafından icra edilen yirmi eser bu dönüşüm modeline göre ayrıntılı biçimde çözümlemeye tabi tutulmuştur. Eserlerdeki biçimsel yapı, usul kullanımı, karar perdeleri, seyir çizgileri ve çeşni kullanımına ilişkin tercihlerin tamamı tablo, grafik ve ağ görselleriyle desteklenmiştir. Böylece makamsal süreklilik, seyir istikrarı ve çeşniler arası iletkenlik hem teorik hem de uygulamalı biçimde açıklığa kavuşturulmuştur. Çalışmanın özgün yönlerinden biri, Cemil Bey'in eserlerinde görülen Perde/Çeşni dönüşüm tercihlerinin yanı sıra bu tercihler aracılığıyla Türk makam müziğinde örtük kalan yapısal dinamiklerin görselleştirilerek anlaşılabilir ve yorumlanabilir bir biçimde ortaya konmasıdır. Bu çalışmada yapılan analiz ve incelemelerin diğer analizciler ve araştırmacılar için de uygulanabilir bir çerçeve sunarak alan yazına katkı sağlamayı hedeflemektedir. Tanburi Cemil Bey'in saz eserlerinde makamsal yapılar, melodik, dönüşümsel ve ağ- temelli bir mantıkla ele alınmıştır. Cemil Bey'in yaratıcı besteciliği, klasik kalıplar içinde yeni yönelimler geliştiren, modülasyon ve geçki kavramlarını çeşitlendiren bir yapı arz etmektedir. Dolayısıyla çalışmanın sunduğu metodoloji, Türk makam müziği analizinde yalnızca Tanburi Cemil Bey'in değil Türk makam müziğinde zaman içinde isminden söz ettirmiş başka icracı ve bestecilerin eserlerinin incelenmesinde de yeni metodolojik açılımlar geliştirilmesine olanak tanımaktadır.
Özet (Çeviri)
This thesis explores the intricate modal architecture of Tanburî Cemil Bey's instrumental repertoire through a comprehensive analytical framework rooted in both traditional Turkish music theory and contemporary modeling strategies. Cemil Bey (1873–1916), a seminal figure in the history of Ottoman–Turkish music, is widely recognized for his extraordinary virtuosity and influential improvisational style. However, this study shifts the focus from performance to compositional structure, arguing that his works are underpinned by a deep and deliberate system of modal transformation. Drawing on a corpus of twenty instrumental works composed in various makams, this thesis introduces the Perde/Çeşni Transformation Model, a multi-layered analytical approach designed to capture the latent dynamics of modal transition and scalar continuity in Turkish makam music. While previous scholarship has often treated makam structures as fixed scalar sequences and modal modulation as a peripheral phenomenon, this study contends that such an approach underestimates the compositional strategies employed by figures like Cemil Bey. His instrumental pieces—ranging from peşrev and saz semaisi to sirto and zeybek—contain rich networks of tonal movement, implicit modulation, and intra- form variation. By adopting a transformation-based perspective, this thesis seeks to uncover how modal units interact, evolve, and reconfigure over the course of a composition, thereby contributing to the expressive depth and structural coherence of the music. At the heart of this study lies the MakamNetz platform, developed within the scope of the TÜBİTAK-funded project“Mapping the Modal Universe through the Network of Harmonic Relationships”(Project No. 122K923, 2023–2024). MakamNetz provides a network-based visualization environment for exploring the relationships between different modal structures (makams, çeşnis, and perde sets) based on pitch class content, functional hierarchy, and transformation potential. Its key innovation is the Perde/Çeşni modeling system, which treats modal behavior not as scalar recitation but as a dynamic progression of PerdeÇeşni units—modular building blocks composed of a tonic pitch (perde) and its associated scalar or modal environment (çeşni). This model allows analysts to identify, track, and classify modal transformations across entire compositions. It defines three primary transformation types: Girift Transformation, based on overlapping pitch collections between two units; Axis- Based Transformation, where one or more central pitches remain fixed as the modal structure shifts; and Kaydırım (Shift), in which a modal unit is transposed while maintaining its internal scalar content. These transformations serve as the analytical grammar for tracing Cemil Bey's modal strategies. Each transformation type has been theorized with reference to historical modal grammar (including the works of Arel, Ezgi, Uzdilek, and Tura), but is adapted here to account for the fluid, non-categorical nature of modal expression in Ottoman– Turkish music. Girift transformations often occur when two modal units share three or more consecutive pitches, facilitating soft, imperceptible transitions. Axis-based transformations are anchored in stable pitches (primary or secondary axes) that serve as melodic centers around which modal variance occurs. Kaydırım transformations, by contrast, generate perceptual shifts by moving the tonic of a modal unit up or down a fourth or fifth, while maintaining its scalar pattern. These transformation types are not mutually exclusive and can combine to form multi- transformation chains—complex sequences that underlie some of Cemil Bey's most sophisticated passages. The model also accounts for implicit modulations, non- cadential stopovers, and unconventional resting tones, which reflect the improvisatory intuition embedded within these otherwise notated works. To operationalize this analytical model, the study transcribed and digitized twenty instrumental works from the TRT repertory and historical recordings (some performed by Cemil Bey himself). Each work was divided into formal sections, and each section was analyzed in terms of rhythmic structure (usul), melodic progression (seyir), and modal content. The Perde/Çeşni units of each section were identified, and their transformations were documented through visual maps generated by the MakamNetz software. One of the notable methodological contributions of this thesis lies in the use of visual network modeling to articulate modal connectivity. By plotting Perde/Çeşni transitions as nodes and edges in a graph, the study makes visible the underlying grammar of modal development—often obscured in traditional notation. These visualizations provide a heuristic tool for identifying transformation strategies, mapping seyir trajectories, and interpreting modal continuity. They also offer pedagogical value in presenting abstract modal concepts in a concrete, visually intelligible format. The numerical analysis of transformation types revealed several important tendencies. Girift transformations were the most frequent, accounting for nearly half of all transitions in the corpus. This suggests that Cemil Bey preferred continuity and perceptual smoothness in navigating modal terrain. Axis-based transformations were prevalent at formal junctions or phrase boundaries, providing cohesion and reinforcing the melodic center. Kaydırım transformations, though used less frequently, often appeared at structurally critical moments such as section openings or transitions between thematic areas. Multi-transformation chains were identified in over a third of the works, underscoring the composer's capacity to weave multiple strategies into coherent modal journeys. Beyond quantitative findings, the study also proposes a re-theorization of modal behavior in Turkish music. Rather than treating makam as a static scale or a fixed seyir pattern, this thesis conceptualizes it as an emergent phenomenon—a result of interrelated Perde/Çeşni behaviors unfolding over time. This perspective echoes broader shifts in musicology toward relational and processual models of musical structure. It also aligns with network-based thinking in cognitive and computational musicology, positioning this study at the intersection of ethnomusicology, theory, and digital humanities. The analysis demonstrates that Cemil Bey's music operates within a field of modal potentialities, where transitions are not governed by rule but by relational proximity and expressive necessity. His use of overlapping tetrachords, pivot tones, and cadential ambiguity reflects an approach that is both rooted in tradition and experimentally elastic. For example, several works exhibit modal shifts that bypass canonical seyir structures, replacing them with intuitive pathways that blend melodic sensibility with structural intelligence. An important secondary finding of the research relates to the performance–notation gap in the corpus. In several cases, particularly with works recorded by Cemil Bey himself, there are marked discrepancies between TRT transcriptions and the performed versions. These differences often involve altered cadences, added ornamental material, or modal deviations. By applying the transformation model to both versions, the study identifies how performers, especially Cemil Bey, actively engage with and reshape the modal framework during execution. This reinforces the idea that transformation is not merely a compositional device but a performance practice, one that integrates structural logic with improvisational nuance. The thesis also addresses historical and epistemological dimensions of Turkish modal theory. Drawing on sources from the late Ottoman era to modern scholarship, it situates the Perde/Çeşni model as a synthetic framework capable of reconciling diverse approaches to makam analysis. By incorporating both pitch-class logic and functional hierarchy, the model transcends scalar formalism and opens new pathways for comparative analysis—across repertories, composers, and historical periods. Furthermore, the findings of this research have significant implications for music pedagogy and digital tool development. The integration of MakamNetz into the analytical process allows for the generation of customizable seyir maps, modal atlases, and interactive analytical environments. These tools can be used in educational settings to demonstrate modal connectivity, transformation logic, and makam differentiation. Future iterations may incorporate AI-based classification of transformations, real-time performance tracking, and automated transcription alignment. Finally, the thesis argues for a paradigm shift in Turkish music analysis—from a scalar, position-based perspective to a relational, transformation-based model. This shift not only enhances analytical precision but also aligns with the lived musical experiences of performers and composers. The Perde/Çeşni Transformation Model, in tandem with MakamNetz visualizations, presents a scalable, extensible methodology for the study of Turkish music that balances traditional knowledge with technological innovation. In conclusion, this study offers a comprehensive reassessment of Tanburî Cemil Bey's instrumental works, foregrounding his compositional intelligence and his transformative approach to modal design. Through a detailed examination of twenty works, the thesis demonstrates that modal behavior in Turkish music is best understood not through static scales but through processual transformations of modular units. By providing both a theoretical framework and an applied methodology, this research contributes to ongoing conversations in Turkish music theory, digital ethnomusicology, and modal analysis. It invites future scholars to explore new repertories, test alternative transformation models, and expand the analytical horizon of makam music.
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