Türkiye'de gazel adıyla anılan musiki eserlerine yönelik analitik bir yaklaşım
An analytical approach to musical works referred to as ghazals in Turkey
- Tez No: 973162
- Danışmanlar: DOÇ. DR. ERAY CÖMERT
- 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: Performans Ana Sanat Dalı
- Bilim Dalı: Çalgı-Ses Bilim Dalı
- Sayfa Sayısı: Belirtilmemiş.
Özet
Türk müziğindeki eser türlerinden biri olan gazeller, her ne kadar genellikle bir gazel şiirinin gazelhan tarafından usule bağlı olmaksızın makamsal yapılar içinde irticalî bir şekilde seslendirilmesi olarak tanımlansa da çeşitli faktörlere bağlı olarak farklı biçimlerde karşımıza çıkabilmektedir. Adını divan şairlerinin en çok kullandığı nazım biçimi olan gazellerden alan bu türün musikide güfte olarak kullanılmasındaki en önemli etken, şairlerin beyitlerdeki sınırlı ifade alanında kendine has sanat anlayışlarını en güçlü şekilde göstermeleri ve tüm maharetlerini ortaya koyması olarak belirtilebilir. Manâ derinliğinin oldukça fazla olması ve yapısı gereği müzikal uygunluğu, bu şiir türünü musikideki gazel icralarında en fazla kullanılan nazım biçimi yapmıştır. Bu bağlamda bu çalışmada ilk olarak gazelin edebiyat alanında nasıl bir şiir türünü ifade ettiği sorusundan hareketle literatürdeki anlamı irdelenmiş ve tarihsel süreç içinde yaşadığı değişimlerden bahsedilmiştir. Böylelikle gazelin edebiyat alanındaki şiir türü olarak yapısı ve özelliklerinin genel olarak bir çerçevesi çizilmeye çalışılmıştır. Gazeller hem İstanbul musiki ortamlarında hem de diğer bölgelerin musiki meclislerinde icra edilen bir eser türü olmuştur. Zaman içinde birçok alanda olduğu gibi geleneksel musiki kültürümüzde de anlam değişikliğine veya anlam genişlemesine uğrayan kavramlardan biri olan gazel, yurdumuzun çeşitli bölgelerinde sadece gazel beyitleri ile değil başka şiir türleriyle icra edilmiş olsa da müzikal bir tür olarak hep gazel adıyla anılmıştır. Gazelin hem saz hem de vokal icracısına, gazelin hangi dönemde seslendirildiğine, hangi bölgede, şehirde veya mekânlarda seslendirildiğine bağlı olarak gazelin icra biçimi, dil yapısı, güfte olarak kullanılan metnin türü, gazelhanın ağız yapısı gibi özellikler değişkenlik gösterebilmektedir. Bu çalışmada farklı dönemlerde yaşamış çeşitli icracıların Türk müziğindeki gazel icra biçimleri, ses kayıtları vasıtasıyla dinlenerek analizi yapılmış ve musikimizdeki bu eser türünde nasıl icra farklılıkları olduğu açıklanmaya çalışılmıştır. Yurdumuzun özellikle doğu kısmının, musiki köklerinin derine uzandığı bazı bölgelerinde daha fazla görülen ve mahalli ağız özelliklerini barındıran gazeller ve İstanbul'da çeşitli musiki ortamlarında İstanbul ağzıyla icra edilen gazellerin tarihsel süreç içinde uğradığı değişim de bu çalışmada irdelenmiştir. Ayrıca ülkemiz sınırlarının dışındaki farklı kültürlerde gazel türüne yakın icra biçimleri hakkında genel bilgiler verilmiştir. Çalışmamızda İstanbul dışında gazellerin görüldüğü bölgelerden Şanlıurfa, Elazığ, Diyarbakır ve Erzurum illerinin kültürel yapılarına değinilmiş ve örnek olarak verilen bu illerin müzik kültüründe yer alan gazel ve gazelhanlık geleneğine dair tespitlerde bulunulmuştur. Hafızlık geleneğinin ve dini musikinin gazellerin gelişimine nasıl katkılar sunduğuna ve gazellerin icrasını nasıl etkilediğine de başka bir bölümde yer verilmiştir. Çoğunlukla, literatür taraması ve doküman analizi yönteminin kullanıldığı çalışmada 40 adet gazel kaydı incelenerek bölgeden bölgeye değişen gazel icra biçimleri ve gazel kelimesine yüklenen anlamların çeşitliliği hakkında bilgiler verilmiştir.
Özet (Çeviri)
Although ghazals, which are one of the types of works in Turkish music, are generally defined as the improvised performance of a ghazal poem by the ghazalhan in makamsal structures without rhythm, they can appear in different forms depending on various factors. The most important factor in the use of this genre, which takes its name from ghazals, the most common form of poetry used by divan poets, as lyrics in music is that the poets show their unique understanding of art in the most powerful way in the limited space of expression in the couplets and reveal all their skills. Its great depth of meaning and its musical suitability due to its structure have made this type of poetry the most frequently used type of poetry in musical ghazal performances. Every nation has carried the literary products of other nations with which it has interacted in various ways into its structure in the form of the societies they have influenced. Later, when poets or writers used their own nation's metaphors, proverbs, and cultural elements, changes occurred in that genre. This is also the case with ghazals. Persian ghazal poets, who were influenced by the ghazal structure of the Arab world, created a new ghazal structure of their own over time, and Turkish poets, who were influenced by Persian ghazals, created a ghazal style molded with their own cultural codes. As in all other genres of literature and art, in ghazals, although the basic structure is preserved during the natural cultural transfer between countries, changes and transformations have been experienced due to the different way of living, thinking and interpretation techniques and traditions of the culture it passes through. This situation also manifested itself in the ghazals of Turkish poets, and the ghazals underwent changes after they were transferred to Turkish literature. In this context, this study first examines the meaning of ghazal in the literature based on the question of what kind of poetry it refers to in the field of literature and talks about the changes it has experienced in the historical process. In this way, a general framework of the structure and characteristics of the ghazal as a type of poetry in the field of literature has been tried to be drawn. Information on the definition and structure of ghazals in various literary sources is given, and examples of the emergence, development, influences, poets and works of this genre, which is a form of verse that first passed into Arabic, then Persian and then Turkish literature, in the literary cult of these nations in a chronological structure are given. The ghazal, a type of poetry that originated in Arabic literature, underwent various changes in Persian literature, and then passed into Turkish literature, found a different medium in Turkish art and was used as a lyric in one of the types of works performed freely in Turkish music, and gave its name to this type of work. In the continuation of the second chapter, following the fact that gazel is a literary genre and a performance genre in our traditional music is given the same name, the definitions in various sources on what gazel in music means and what exactly it expresses are analyzed. In music, ghazals have been a type of work performed both in Istanbul musical environments and in the musical assemblies of other regions. In Turkish music, ghazals are mostly performed by one, sometimes several instruments, at the beginning and between the couplets, with the instrumental taksim made in accordance with the maqam structure that the ghazal recites. In addition to this performance style, it is also seen that the gazelle performs a poem in the gazelle genre alone, again improvised and without rhythm, or by reading it over a rhythmic melody performed by one or several instruments, again independent of the rhythmic structure. While singing ghazals, it is common to use additional words such as ah, of, yâr, aman at the beginning, between the verses and at the end. Gazel, which is one of the concepts that has undergone a change or expansion of meaning in our traditional music culture as in many fields over time, has always been referred to as gazel as a musical genre, even though it has been performed in various regions of our country not only with gazel couplets but also with other types of poetry. Depending on both the instrumental and vocal performer of the ghazal, the period in which the ghazal was performed, the region, city or places in which the ghazal was performed, features such as the performance style of the ghazal, language structure, the type of text used as lyrics, and the dialectal structure of the ghazal singer may vary. In most of the definitions of ghazal in this section, it is emphasized that ghazal is a type of work that mostly takes its lyrics from ghazals, a type of poetry of divan literature, and is performed by a vocal performer without any procedural rules, in maqam structures, and without prior preparation. In addition, in the continuation of the study, which talks about the history of ghazals in our musical culture, it is seen that the term taksim is used for ghazals in the historical process. Just like an instrumentalist's journey with his/her instrument in the makamsal structures, the journey that vocal performers make with their voices was called taksim and later came to be known as gazel. In the light of the data obtained from the sound recordings, it was interpreted in the light of the data obtained from the sound recordings whether the ghazals were performed in different ways by different ghazals, even if the lyrics were the same, or whether certain melodic structure and makamsal course characteristics were observed. In this way, the details of the performance diversity of the ghazals that we seek an answer to in this study were seen more closely. In this study, the performance styles of ghazals in Turkish music by various performers who lived in different periods were analyzed by listening to the sound recordings, and it was tried to explain how there are differences in the performance of this type of work in our music. The ghazals, which are more common in some regions of our country, especially in the eastern part of our country, where the roots of music are deep, and which have local dialect features, and the change in the historical process of ghazals performed with the Istanbul dialect in various musical environments in Istanbul have also been examined in this study. In addition, general information about the forms of performance close to the gazel genre in different cultures outside the borders of our country is given. Interviews were conducted electronically with academicians, folklore researchers and gazelkhan related to ghazals and the tradition of gazelkhan. As a result of the interviews, their views on what kind of work they describe when it comes to ghazals, how they perform ghazals, the lyrics used and the forms of ghazal performance in our culture are included. In the third part of the study, the question of how there are differences in performance and structure between the ghazals in the local culture around Istanbul and outside Istanbul was sought to be answered with the information in the literature, the data obtained and analyzed in the electronic environment, and the data obtained from the field research, and it was questioned whether there is a common definition of ghazal. In each of the musical environments where ghazals are performed, the style differences, especially the dialect of the performers, are at the forefront. Especially ghazals, which are more dominant by hafiz who have received religious education, differ from the qasida genre, which is performed improvisationally in our religious music, in that it deals with non-religious subjects, but they have a very similar structure in terms of performance style. The ghazal performances that are shaped by the improvisational work types of religious music and the influence of hafiz on ghazal performances are another issue addressed in this section. The term Hafiz Mouth, which is used to describe the unique musical features used by people who perform works in the forms of the Holy Qur'an and religious works and whose profession is hafiz, is also frequently encountered in the performance of ghazals. In this form of performance, which is dominated by frequent serial and various dagger movements, abundant ornamentation and nasal timbres, tenor voices, which can comfortably produce thin sounds in the most emotionally intense place, have always been preferred and come to the fore in hafiz performers. Regardless of the musical environment in which region they are located, when the general population of the performers is taken into consideration, hafiz who perform ghazals, a type of non-religious music, as well as improvised religious music, have an important place among the performers who have performed works in the ghazal form in our music. From the 1950s onwards, ghazals have gradually changed in terms of their performance styles, performance environments and the structure of the lyrics used. The development of mass media, society's search for different music, the arabesque reality that would leave its mark on the musical culture of our country in the following years and the fact that music was turned into a daily consumer product and seen as a tool to achieve commercial goals have also affected ghazals. The profile of the ghazal performers of the period gradually transformed from those who were hafiz who were well versed in tekke music to the profile of ghazal performers who faced the commercial concerns of the record industry and musical entertainment venues that also served alcohol. In our study, the cultural structures of Şanlıurfa, Elazığ, Diyarbakır and Erzurum provinces, which are among the regions where ghazals are seen outside of Istanbul, have been mentioned and determinations have been made about the tradition of ghazals and ghazelkhan in the music culture of these provinces. The study also provides information about the works in the cultures of different countries that are similar to the ghazal genre in our country. It is possible to come across similar performance practices in different geographies, although not with exactly the same structure and performance technique as the gazel genre in our country. In the Azerbaijani music mughams that we examined in our study, the ghazal couplets of the poets of divan literature are used as in our country, while in the performances of Greece Amanes and India Khyal, the lyrics are taken from freely written texts. In both Azerbaijani Mughams and Indian Khyal, the soloist has the most important role in shaping the performance by directing the piece freely. In the study, in which the literature review and document analysis method were used, 40 ghazal recordings were analyzed and information was given about the changing forms of ghazal performance from region to region and the diversity of meanings attributed to the word ghazal. In the fourth section, where the main problem of the study is examined, 20 ghazal recordings recorded in Istanbul musical environments and 20 ghazal recordings from local ghazals in the folk music culture of Şanlıurfa, Elazığ, Diyarbakır and Erzurum provinces were examined in terms of structure and performance characteristics. As a result of this examination, the instruments used, which ghazal poems were used as lyrics in the recordings, the makamsal structure and course characteristics were determined and the differences between them were tried to be determined. In this way, it was tried to reveal whether there is a common ghazal structure in terms of performance practices and the structure of different performance forms by analyzing the ghazals performed in various musical environments in various parameters. In particular, how the ghazals are performed by which performers, in which regions they have become a tradition and have been performed for many years, what kind of place they occupy in the musical culture of the regions, their place in collective performance traditions and their forms of transmission have been examined, and in this way, inferences have been made about what ghazals express in our culture. When the change in the performance practices of ghazals in the field of music depending on time and place, the transformation it has undergone in the historical process and the expansion of meaning in our music culture are taken into consideration, it is seen that there is no uniform performance structure and therefore no clear definition has emerged.
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