{"id":16485,"date":"2022-11-30T19:00:15","date_gmt":"2022-11-30T16:00:15","guid":{"rendered":"https:\/\/millidusunce.com\/misak\/?p=16485"},"modified":"2022-11-30T11:34:01","modified_gmt":"2022-11-30T08:34:01","slug":"rahmi-oruc-guvenc-ile-soylesi-1984","status":"publish","type":"post","link":"https:\/\/millidusunce.com\/misak\/rahmi-oruc-guvenc-ile-soylesi-1984\/","title":{"rendered":"Rahmi Oru\u00e7 G\u00fcven\u00e7 ile T\u00fcrk M\u00fczi\u011fi \u00fczerine bir sohbet"},"content":{"rendered":"
Rahmi Oru\u00e7 G\u00fcven\u00e7, 1976 y\u0131l\u0131nda, T\u00fcrk musikisinin do\u011fu\u015funu, geli\u015fmesini, tedavi de\u011ferini, repertuar ve enstr\u00fcman zenginli\u011fini ara\u015ft\u0131rmak ve tan\u0131tmak amac\u0131 ile T\u00fcrk musikisini Ara\u015ft\u0131rma ve Tan\u0131tma Grubunu (T\u00dcMATA<\/a>) kurmu\u015fur. T\u00dcMATA, binlerce y\u0131ll\u0131k T\u00fcrk m\u00fczi\u011fini repertuar, icra \u015fekilleri, danslar\u0131, k\u0131yafet ve dekor vb. y\u00f6nlerinden ara\u015ft\u0131rma ve yeniden canland\u0131rman\u0131n yan\u0131nda, m\u00fczik terapi \u00e7al\u0131\u015fmalar\u0131yla tan\u0131n\u0131yor. T\u00dcMATA, Avrupa’n\u0131n \u00e7e\u015fitli \u00fclkelerinde de m\u00fczik ve m\u00fczik terapi \u00e7al\u0131\u015fmalar\u0131 yapmaktad\u0131r. Rahmetli \u015fairimiz Dilaver Cebeci’nin rahmetli m\u00fczisyenimiz Rahmi Oru\u00e7 G\u00fcven\u00e7 ile 1984 y\u0131l\u0131nda T\u00d6RE Dergisinin 155. say\u0131s\u0131nda yapt\u0131\u011f\u0131 r\u00f6portaj\u0131 okurlar\u0131m\u0131za sunuyoruz.\u00a0<\/em><\/h6>\n

CEBEC\u0130 \u2014 Kendi \u00f6l\u00e7\u00fclerim i\u00e7inde, Bat\u0131 m\u00fbsik\u00eesi ile T\u00fcrk m\u00fbsik\u00eesinin kar\u015f\u0131la\u015ft\u0131rmas\u0131n\u0131 yapt\u0131m ve \u015fu vaziyeti m\u00fc\u015fahade ettim : Bat\u0131 m\u00fbsi\u00adkisinin sesleri tamamen tabiattan al\u0131nma, bir nev\u2019i maddenin taklidi. Bizim m\u00fbsik\u00eemizin sesleri yery\u00fcz\u00fcnde bulunmayan, \u00e2deta semav\u00ee <\/em>sesler. Orijinal ve maddeyi a\u015fm\u0131\u015f g\u00f6r\u00fcn\u00fcyor. Bu konuda ne dersiniz?<\/p>\n

G\u00dcVEN\u00c7 \u2014 Bat\u0131 m\u00fbsik\u00eesi h\u00e2len vard\u0131\u011f\u0131 yer itib\u00e2riyle en geli\u015fmi\u015f \u015feklini \u00abcaz\u00bbda bulmu\u015ftur. Caz; i\u00e7ine do\u011fdu\u011fu gibi o anda hissedilenler a\u00e7\u0131s\u0131ndan bir m\u00fczik ortaya koyma tarz\u0131d\u0131r,<\/p>\n

T\u00fcrk M\u00fbsik\u00eesinin tarihine bakt\u0131\u011f\u0131m\u0131z zaman, mesel\u00e2 Dede Korkut zaman\u0131nda caz\u2019\u0131n yap\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. 0 halde, Bat\u0131 m\u00fczi\u011finin tek\u00e2\u00adm\u00fcl etmi\u015f \u015fekli dahi T\u00fcrk M\u00fbsik\u00eesinin iptid\u00e2i say\u0131lan \u015fekline ancak yak\u00adla\u015fmaktad\u0131r.<\/em> Aradaki b\u00fcy\u00fck fark budur. Sonra sizin de belirtti\u011finiz gibi bat\u0131 m\u00fczi\u011fi bir tak\u0131m kal\u0131plar\u0131n i\u00e7indedir ve hen\u00fcz o kal\u0131plar\u0131n d\u0131\u015f\u0131na \u00e7\u0131kamam\u0131\u015ft\u0131r.<\/p>\n

T\u00fcrk m\u00fbsik\u00eesinde bat\u0131 m\u00fbsik\u00eesinden ayr\u0131 olan koma sesler diye bir bahis vard\u0131r. Ona da temas etmek istedi\u011finizi zannediyorum. T\u00fcrk m\u00fbsik\u00eesinin \u00f6zelli\u011fi : De\u011fi\u015fik bir atmosferin, i\u00e7inde bulundu\u011fumuz za\u00admana irc\u00e2 edilmesini olu\u015fturan bir tesirdir. Bat\u0131 m\u00fczi\u011fi belli bir tak\u0131m on – oniki kal\u0131b\u0131n d\u0131\u015f\u0131na \u00e7\u0131kamaz. Bunlar, tonlard\u0131r. Maj\u00f6r, min\u00f6r ve benzeri tonlar. Fakat, T\u00fcrk m\u00fbsik\u00eesi bunlar\u0131n \u00e7ok \u00d6tesinde bir tak\u0131m \u00e2henkleri, aral\u0131klar\u0131 b\u00fcnyesinde toplar. Bizim ara\u015ft\u0131rma konular\u0131m\u0131zdan bir tanesi de budur. Bu konuda biraz daha geni\u015f izahat vermek istiyorum :<\/p>\n

T\u00fcrk m\u00fbsik\u00eesinin tarih\u00e7esine bakacak olursak, otoritelerimiz umu\u00admiyetle Safiyy\u00fc\u2019dd\u00een Urmev\u00ee\u2019ye kadar tarihi belgeler g\u00f6sterebilirler. Bunlar ise a\u015fa\u011f\u0131 yukar\u0131 650-700 sene evveline dayan\u0131r. Acaba daha es\u00adkiye ait hi\u00e7bir belge yok mudur, diye bir sual sorduk ve bunu ara\u015f\u00adt\u0131r maya ba\u015flad\u0131k. G\u00f6rd\u00fck ki, \u015fimdiki yedi – sekiz sesli m\u00fbsik\u00eemizden \u00f6n\u00adce, bizim be\u015f sesli bat\u0131klar\u0131n \u00abPentatonik\u00bb m\u00fczik dedikleri bir m\u00fbsik\u00ee mevcut. Bu be\u015f sesli m\u00fbsik\u00ee, halen Kazan m\u00fczi\u011finde, Kazak, Do\u011fu T\u00fcrkistan m\u00fczi\u011finin bir k\u0131sm\u0131nda g\u00f6ze \u00e7arpar. Ve i\u015fin enteresan taraf\u0131; Orta Asya\u2019da Dombra isimli saz\u0131n perdelerinde halen muhafaza edilmektedir. Bu m\u00fczi\u011fin T\u00fcrk karakteri ile \u00e7ok yak\u0131n al\u00e2kas\u0131 vard\u0131r. Be\u015f esprisini T\u00fcrkler kullanm\u0131\u015flar ve muhafaza etmi\u015flerdir. Be\u015f seslilik vazge\u00e7ilmez bir felsefe ile al\u00e2kal\u0131d\u0131r. Bunun teferruat\u0131n\u0131 incelemeye de\u00advam ediyoruz.<\/p>\n

CEBEC\u0130 \u2014 Bu be\u015f sesli m\u00fbsik\u00eenin izleri kl\u00e2sik m\u00fbsik\u00eemizde ne \u00f6l\u00e7\u00fcde vard\u0131r?<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Otoritelerimizin Safiy\u00fc\u2019ddin Urmev\u00ee\u2019den \u00d6nceye ait bir belge bulunmad\u0131\u011f\u0131ndan yak\u0131nd\u0131klar\u0131n\u0131 daha \u00f6nce s\u00f6ylemi\u015ftim. Halbuki, be\u015f sesli m\u00fczi\u011fin gamlar\u0131n\u0131 kendi b\u00fcnyelerindeki olu\u015fumlar\u0131n\u0131n ba\u015fka bir sese nakledilmesi (buna Bat\u0131 m\u00fczi\u011finde Transpozisyon, bizde ise \u015fet deniyor) halinde yeni bir tak\u0131m aral\u0131klar, koma sesler kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131\u00adyor. \u0130\u015fte \u00e7\u00f6z\u00fclemeyen problem buradad\u0131r. Bu be\u015f sesli m\u00fczi\u011fin ba\u015fka bir sese, bir tonun ba\u015fka bir tona ta\u015f\u0131nmas\u0131nda ortaya \u00e7\u0131kan ar\u0131za ses\u00adler, aral\u0131k sesler, zamanla bizim \u015fimdiki musik\u00eemizdeki koma sesleri olu\u015fturmu\u015f. B\u00f6ylece Safiy\u00fc\u2019ddin Urmev\u00ee\u2019den \u00f6ncesiyle, Safiy\u00fc\u2019ddin Urmev\u00ee aras\u0131nda bir kopukluk olmad\u0131\u011f\u0131 kanaati h\u00e2s\u0131l oluyor ki, bu; bir t\u00e2rih\u00ee koridordur. Bu koridorun i\u00e7indeki zaman ak\u0131\u015f\u0131nda bir kopukluk yoktur, Dolay\u0131siyle kl\u00e2sik musik\u00eemize y\u00f6neltilen Bizans\u2019dan ve Arap\u2019dan al\u0131nma iddialar\u0131 ge\u00e7ersiz kalmaktad\u0131r. Bunun i\u00e7in, bu be\u015f sesli T\u00fcrk m\u00fbsik\u00eesini \u00e7ok iyi ara\u015ft\u0131rmam\u0131z l\u00e2z\u0131m. Televizyonda \u00abM\u00fczik ve \u0130nsan\u00bb isimli bir program vard\u0131. Bu programda be\u015f sesli m\u00fczikten de bahse\u00addildi ve bu m\u00fczi\u011fin sihir g\u00fcc\u00fc oldu\u011fu s\u00f6ylendi.<\/p>\n

CEBEC\u0130 \u2014 Bu sihir m\u00fczi\u011fi t\u00e2birine tak\u0131ld\u0131m; bunun Kam’lar\u0131n \u00e7al\u00add\u0131klar\u0131yla al\u00e2kas\u0131 var m\u0131? Bir ba\u015fka deyi\u015fle eski devirlerde T\u00fcrk M\u00fbsik\u00ee\u00adsi ne ama\u00e7la kullan\u0131l\u0131yordu?<\/em><\/p>\n

\"\"<\/p>\n

G\u00dcVEN\u00c7 \u2014 T\u00fcrk m\u00fbsik\u00eesi hi\u00e7bir zaman vakit ge\u00e7irmek, e\u011flenmek i\u00e7in kullan\u0131lan bir m\u00fbsik\u00ee de\u011fildir. E\u011fitici, \u00f6\u011fretici ve sosyal ihtiya\u00e7lar\u0131 kar\u015f\u0131layan bir vasfa sahiptir. Ve insan\u0131n ruhen y\u00fccelmesini sa\u011flayan bir musikidir.<\/p>\n

CEBEC\u0130 \u2014 Sem\u00e2v\u00ee olu\u015fu da buradan geliyor herhalde.<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 \u015eimdi elimde Eskimo m\u00fczi\u011fi\u2019ne dair bir teksir var, onu d\u0131klar\u0131yla al\u00e2kas\u0131 var m\u0131? Bir ba\u015fka deyi\u015fle eski devirlerde T\u00fcrk M\u00fbs\u0131k\u00ee- belirli bir \u015fey yapmak i\u00e7in kullan\u0131yorlar. Mesel\u00e2, bir Eskimo ava gidecek, \u015eaman\u2019a gidiyor ve ondan bir \u015fark\u0131 sat\u0131n al\u0131yor. Sonra bu \u015fark\u0131y\u0131 icra ediyor. Onun verdi\u011fi m\u00e2nevi g\u00fc\u00e7le i\u015fini yap\u0131yor. Veya en az\u0131ndan bu yolla i\u015finin rastgidece\u011fine inan\u0131yor. K\u0131z\u0131lderililer’de ise \u015f\u00f6yle : Ava gitmeden \u00f6nce oturup davulunu \u00e7almaya ba\u015fl\u0131yor. Bir hayli \u00e7ald\u0131ktan sonra, \u00f6yle bir konsantrasyon i\u00e7ine giriyor ki \u2014y\u00e2ni bir meditasyon h\u00e2li\u2014 onunla \u015fuurunda av\u0131 olgunla\u015ft\u0131r\u0131yor.<\/p>\n

CEBEC\u0130 \u2014 Hatta avlayaca\u011f\u0131 hayvanin taklidini yap\u0131yor…<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Evet, o hayvan\u0131 \u00e7a\u011f\u0131r\u0131yor. Ona d\u00e2ir feet – back\u2019lerini kuruyor. Onu muhayyilesinde hallediyor, ondan sonra kazan\u0131lm\u0131\u015f bir zaferin \u00fczerine gidiyor.<\/p>\n

CEBEC\u0130 \u2014 Bug\u00fcnk\u00fc caz m\u00fczi\u011finin; Kam devrinin av gere\u011finden do\u00ad\u011fan m\u00fbsik\u00eesini i\u015fin ruhundan habersiz, s\u00e2dece takl\u00eed etti\u011fini s\u00f6yleye\u00adbilir miyiz?<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 S\u00f6yleyebiliriz. \u00c7\u00fcnk\u00fc, bunu e\u011flence temeline oturttu\u011fu i\u00e7in takl\u00eedden \u00f6teye ge\u00e7emez. Ama bunun esprisine, ruhuna varmaya \u00e7al\u0131\u015fanlar da var. Londra\u2019da bir piyanist caz\u2019c\u0131 ile (Keith Jarret) bir\u00adlikte bir bant haz\u0131rlad\u0131k. Jarret Amerika\u2019da piyano ile pentatonik Asya M\u00fbsik\u00eesi \u00fczerine alb\u00fcmler haz\u0131rlam\u0131\u015f. Ve bu adam spirit bir adam. Yani i\u015fin ruh\u00ee taraf\u0131na y\u00f6nelmi\u015f. Londra\u2019da sprit\u00fcel temelli, tamamen emprovizeye, irtic\u00e2l\u00ee (i\u00e7e do\u011fu\u015f) icraate dayanan bir m\u00fczik yapt\u0131k kendisiyle…<\/p>\n

CEBEC\u0130 \u2014 G\u00fcn\u00fcm\u00fczde icra edilen klasik T\u00fcrk M\u00fbsik\u00eesi ile sizin par\u00e7alar\u0131n\u0131z aras\u0131nda ses ve us\u00fbl bak\u0131m\u0131ndan ne gibi benzerlikler var?<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Asl\u0131nda bizim par\u00e7alar\u0131m\u0131z klasik T\u00fcrk m\u00fbsik\u00eesini de ihtiva etmektedir. Biz, \u00e7e\u015fitli T\u00fcrk boylar\u0131n\u0131n m\u00fczi\u011fini orijinal enstr\u00fcman\u0131 ve leh\u00e7esi ile sunmaya \u00e7al\u0131\u015f\u0131yoruz. Bunun yan\u0131s\u0131ra din\u00ee m\u00fbsik\u00eenin \u00e7e\u015fitli b\u00f6l\u00fcmlerinden, nefeslerden, tev\u015fihlerden, duraklardan, \u0130l\u00e2hilerden, kasidelerden, Mevlevi musikisinden, serhat t\u00fcrk\u00fcleri ve mehter mar\u015flar\u0131ndan \u00f6rnekler veriyoruz. Yani, klasik T\u00fcrk m\u00fbsik\u00eesi bizim icra etti\u011fimiz bir b\u00f6l\u00fcmd\u00fcr.<\/p>\n

CEBEC\u0130 \u2014 Efendim ben daha \u00e7ok \u015funu \u00f6\u011frenmek istemi\u015ftim : Sizin icra etti\u011finiz m\u00fbsik\u00ee b\u00f6l\u00fcmleri ile klasik m\u00fbsik\u00eemizin b\u00f6l\u00fcmleri aras\u0131nda ne gibi farklar var?<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Tarih\u00ee geli\u015fme i\u00e7inde, \u00f6nce basit pentatonik t\u00fcr kulla\u00adn\u0131l\u0131yordu. Sonra yedi sesli, sekiz sesli m\u00fczik t\u00fcrlerine ge\u00e7ildi. Ve koma seslerle beraber makamlar do\u011fdu, T\u00fcrk m\u00fbsik\u00eesindeki bu makamlar yakla\u015f\u0131k 450 kadard\u0131r. Bunlar\u0131n bir k\u0131sm\u0131 halen kullan\u0131lmaktad\u0131r. M\u00fbsik\u00ee\u00admizde ritmler de olduk\u00e7a zengindir.<\/p>\n

Bizim icra etti\u011fimiz b\u00f6l\u00fcmler, bu ritm ve makam bak\u0131m\u0131ndan en fakir olan Asya M\u00fbsik\u00eesidir. Asya m\u00fbsik\u00eesinde en \u00f6nemli husus; icraa\u00adt\u0131n irticalen yap\u0131lmas\u0131d\u0131r. Dede Korkut, bir durum kar\u015f\u0131s\u0131nda, o an i\u00e7i\u00adne gelenleri icra ediyordu. En a\u00e7\u0131k \u015fekliyle Caz yap\u0131yordu, burada emprovize vard\u0131r. Bu ne demektir? Bu, akl\u00ee olandan daha \u00f6teye, sevgiye varmak demektir. Sanatta sevgiyle gelen, o ana tekab\u00fcl eden m\u00fczik \u00f6nemlidir.<\/p>\n

Zaten, klasik m\u00fbsik\u00eemiz bir dantela \u00f6rne\u011fidir. Denir ki, T\u00fcrk m\u00fb\u00adsik\u00eesini bilmek i\u00e7in, Mevlev\u00ee m\u00fbsik\u00eesini bilmek gerekir, Mevlev\u00ee musikisindeki o sprit\u00fcel enerjiye y\u00f6nelen Mevlevi azizleri ne yap\u0131yorlar? Kendi “\u00f6zlerinde baz\u0131 hakikatleri anlay\u0131p, onlar\u0131 m\u00fbsik\u00eeye aktar\u0131yorlar. Bu basit bir \u015fey de\u011fildir. Dede Korkut\u2019taki aniden geliveren bir \u015feydir, Mevlevilerdeki ise daha \u00e7ok \u00fczerinde d\u00fc\u015f\u00fcn\u00fclen, daha \u00e7ok sanat olma\u00ads\u0131na dikkat edilen bir \u015feydir.<\/p>\n

CEBEC\u0130 \u2014 T\u00dcMATA olarak ne gibi faaliyetlerde bulunuyorsunuz? \u00c7al\u0131\u015fmalar\u0131n\u0131zdaki nih\u00e2\u00ee gaye nedir ve bu gayeye hangi nisbette yak\u00adla\u015ft\u0131n\u0131z?<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Biz T\u00fcrk m\u00fbsik\u00eesini be\u015f b\u00f6l\u00fcmde m\u00fctal\u00e2a ediyoruz : Din\u00ee T\u00fcrk m\u00fbsik\u00eesi, Asya M\u00fbsik\u00eesi, Klasik T\u00fcrk M\u00fbsik\u00eesi, Serhat t\u00fcrk\u00fc\u00adleri ve Mehter mar\u015flar\u0131… Bizim nih\u00e2\u00ee gayemiz; bu be\u015f ayr\u0131 grub gibi g\u00f6r\u00fclen m\u00fbsik\u00ee t\u00fcrlerinin asl\u0131nda bir b\u00fct\u00fcn oldu\u011funun idr\u00e2kine var\u00admakt\u0131r, \u00c7\u00fcnk\u00fc kar\u015f\u0131m\u0131zda korkun\u00e7 bir tablo vard\u0131: Halk m\u00fbsik\u00eesi, san\u2019at m\u00fbsik\u00eesi diye bir d\u00fcalite, bir ikilik… Neymi\u015f, san’at m\u00fbsik\u00eesi aristok\u00adrat tabakan\u0131n, halk m\u00fbsik\u00eesi proleteryan\u0131n m\u00fczi\u011fi imi\u015f. B\u00f6yle bir \u015fey yok. Bunun i\u00e7in de T\u00fcrk m\u00fbsik\u00eesinin sayd\u0131\u011f\u0131m\u0131z be\u015f b\u00f6l\u00fcm\u00fcn\u00fcn aras\u0131nda da b\u00fcy\u00fck bir fark yok. Bunlar belli bir tarih\u00ee ak\u0131\u015f i\u00e7inde birbirini t\u00e2k\u00eeb eden, birbirinden kopmayan n\u00fcanslard\u0131r. \u00c7ok k\u00fc\u00e7\u00fck farklard\u0131r…<\/p>\n

CEBEC\u0130 \u2014 Enst\u00fcr\u00fcman farklar\u0131 gibi…<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Evet. Bunun i\u00e7in, bu idr\u00e2ke varmak, b\u00f6l\u00fcnmeden uzak\u00adla\u015f\u0131p, b\u00fct\u00fcnle\u015fme\u011fe ge\u00e7mek gerekiyor. Biz \u015funu s\u00f6yl\u00fcyoruz : T\u00fcrk M\u00fbsi\u00adk\u00eesini bilmek demek; bahsetti\u011fimiz b\u00f6l\u00fcmlerden herhangi birini bilmek demek de\u011fildir. Hepsini bilmek demektir. Bunlar\u0131 bir b\u00fct\u00fcn h\u00e2linde m\u00fctal\u00e2a etmek, birbiriyle m\u00fcnasebetlerini incelemek ve birbirinden kopmaz \u00f6\u011feler oldu\u011funu kabul etmek gerekir. Nih\u00e2\u00ee gayemiz bu anlay\u0131\u015fa varmakt\u0131r. T\u00fcrk m\u00fbsik\u00eesi Bizans\u2019tan. Arap\u2019tan al\u0131nm\u0131\u015f bir m\u00fbsik\u00ee de\u011fil\u00addir. Kendi \u00f6z\u00fcm\u00fczden kaynaklanmaktad\u0131r, kendi sprit\u00fcel alan\u0131m\u0131z\u0131, idr\u00e2kimizi ve spirit\u00fcel ilticam\u0131z\u0131 yans\u0131tmakta ye ta\u015f\u0131maktad\u0131r. Ta\u015f\u0131\u00admaktad\u0131r diyorum, \u00e7\u00fcnk\u00fc; m\u00fbsik\u00eenin icraat\u0131nda meydana gelen rezonans ve senkronazisyon olaylar\u0131n\u0131n insan\u0131n en hassas yeri olan beyindeki limbik sistemle al\u00e2kas\u0131 vard\u0131r. Limbik sistem heyecanlar\u0131n merkezidir. Oraya tesir eden en b\u00fcy\u00fck fakt\u00f6r m\u00fbsik\u00eedir. Onun i\u00e7in, m\u00fbsik\u00ee ile ted\u00e2vi diye bir konu vard\u0131r.<\/p>\n

Faaliyetlerimiz aras\u0131nda, eski, h\u00e2len kullan\u0131lan fakat T\u00fcrkiye’de pek bilinmeyen sazlar\u0131m\u0131z\u0131 ara\u015ft\u0131rmak, onlar\u0131 bulmak, gerekti\u011finde tamir etmek, yenisini yapmak, icr\u00e2 \u015fekillerini \u00f6\u011frenmek ve \u00f6\u011fretmek, nota derlemek, ar\u015fiv yapmak, bant ve pl\u00e2k haz\u0131rlamak vard\u0131r.<\/p>\n

CEBEC\u0130- Kulland\u0131\u011f\u0131n\u0131z enstr\u00fcmanlar\u0131 da bize tan\u0131t\u0131r m\u0131s\u0131n\u0131z?<\/em><\/p>\n

\"\"<\/p>\n

G\u00dcVEN\u00c7-\u00a0 Ud, tanbur, kanun ve keman gibi \u00e7ok bilinen sazlar\u0131n yan\u0131s\u0131ra T\u00fcrkiye\u2019de az bilinen de\u011fi\u015fik sazlar da kullan\u0131yoruz. Bunlardan k\u0131saca bahsetmek istiyorum. Memleketimizde k\u0131smen tan\u0131nan bir Azerbaycan saz\u0131 var : Tar. Bu saz iki g\u00f6vdelidir ve heyetimiz taraf\u0131ndan kullan\u0131l\u0131r. Rebab isminde bir saz\u0131m\u0131z var; Hindistan cevizi kabu\u011fundan yap\u0131lan bir g\u00f6vdeye sap tak\u0131larak yap\u0131lm\u0131\u015ft\u0131r. \u00dczerine yay\u0131n bal\u0131\u011f\u0131 veya ke\u00e7i derisi gerilir. Telleri at k\u0131l\u0131ndand\u0131r ve yine at k\u0131l\u0131ndan yap\u0131lan bir yayla \u00e7al\u0131n\u0131r. Rebab, ney ile beraber Mevlevi musikisinin belli ba\u015fl\u0131 sazlar\u0131ndand\u0131r- Temeli Ortaasya\u2019ya dayan\u0131r. Kabak Kemane de kulland\u0131\u011f\u0131m\u0131z sazlar aras\u0131nda. Sonra Gubuz isminde \u00e7ok enterasan bir aletimiz var. Bu alet T\u00fcrkistan ve Kazakistan\u2019da kullan\u0131lmaktad\u0131r. A\u011f\u0131zla \u00e7al\u0131nan bu k\u00fc\u00e7\u00fck alete \u015eangubuz da denir. Bir benzetme yap\u0131l\u0131rsa, gazoz a\u00e7aca\u011f\u0131 gibi d\u00fc\u015f\u00fcn\u00fclecek bir metal i\u00e7ine, \u00e7elik bir yay gerilmi\u015ftir; bu \u00e7elik yay\u0131n a\u011f\u0131z bo\u015flu\u011fundaki titre\u015fimleri melodiyi \u00e7\u0131kart\u0131r. Ritm sazlar aras\u0131nda Bendir, Kud\u00fcm, Tef gibi sazlar\u0131 kullan\u0131yoruz. Dede Korkut zaman\u0131na kadar gitti\u011fi s\u00f6ylenen ve kopuzun asl\u0131 kabul edilen \u00f6nemli bir ba\u015fka gaz\u0131m\u0131z vard\u0131r: buna da Dombra veya Dutar denilmektedir. Emir H\u00fcsrev Dehlev\u00ee isminde bir T\u00fcrk\u2019\u00fcn icat etti\u011fi ve yine sprit\u00fcel, ruh\u00ee yan\u0131 a\u011f\u0131r basan ve bat\u0131ya bu \u015fekilde g\u00f6t\u00fcr\u00fclen bir saz vard\u0131r : Sitar ve Vina. Sitar, kabaktan yap\u0131l\u0131r, \u00fcst\u00fcnde aheng telleri vard\u0131r. Bu saz bize Avusturya\u2019da hediye edilmi\u015fti. Yava\u015f yava\u015f icraat\u0131m\u0131zda kullanma\u011fa ba\u015flad\u0131k. Kanuna benzeyen ama tokmakla \u00e7al\u0131nan Santur isminde de\u00ad\u011fi\u015fik bir aletimiz daha var. K\u0131saca T\u00fcrk sazlar\u0131n\u0131n hepsini kullanmaya \u00e7al\u0131\u015f\u0131yoruz.<\/p>\n

Dikkat edilirse, biz muhtelif aletleri icraat\u0131m\u0131zda kullanarak, Sanat M\u00fbsik\u00eesi – Halk M\u00fbsik\u00eesi gibi bir ayr\u0131l\u0131\u011f\u0131n olmad\u0131\u011f\u0131n\u0131 g\u00f6stermeye \u00e7al\u0131\u015f\u0131\u00adyoruz.<\/p>\n

CEBEC\u0130 \u2014 Son olarak il\u00e2ve etmek istedi\u011finiz bir \u015fey var m\u0131?<\/em><\/p>\n

G\u00dcVEN\u00c7 \u2014 Sonu\u00e7 olarak \u015funu s\u00f6yleyebilirim : T\u00fcrk, ya\u015fad\u0131\u011f\u0131 hayat \u015fartlar\u0131, g\u00f6r\u00fc\u015f tarz\u0131 ve \u015fuurunun aksedece\u011fi olaylar ve yorumlar a\u00e7\u0131s\u0131ndan mutlu olmaya, mutlu ya\u015famaya l\u00e2y\u0131kt\u0131r. Onun i\u00e7in, T\u00fcrk musikisi; mutluluk verir… ne\u015fe verir… huzur verir. Ben, ac\u0131, \u0131zd\u0131rap ve melankoli hali veren musikinin T\u00fcrk Musikisi vasf\u0131n\u0131 ta\u015f\u0131yabilece\u011fini zannetmiyorum. Ama \u015funu da s\u00f6ylemekte fayda var; insan\u0131n hiss\u00ee ha\u00adyat\u0131 \u00e7ok zengindir. Bu hiss\u00ee hayat\u0131 musiki eserlerine d\u00f6ken b\u00fcy\u00fck bestek\u00e2rlar\u0131m\u0131z vard\u0131r. Yani bir h\u00fcz\u00fcn terenn\u00fcm\u00fc ta\u015f\u0131yan ve sanat de\u00ad\u011feri olan istisna\u00ee eserler de vard\u0131r. Fakat esasta. T\u00fcrk\u2019\u00fcn musikisi enerjiktir, hareket kabiliyeti, motivitesi vard\u0131r.<\/p>\n

T\u00dcMATA ad\u0131na muhterem T\u00d6RE okuyucular\u0131na sayg\u0131lar\u0131m\u0131z\u0131 sunar, buna vesile olman\u0131zdan dolay\u0131 da size te\u015fekk\u00fcr ederiz.<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Rahmetli \u015fairimiz Dilaver Cebeci’nin rahmetli m\u00fczisyenimiz Rahmi Oru\u00e7 G\u00fcven\u00e7 ile 1984 y\u0131l\u0131nda T\u00d6RE Dergisinin 155. say\u0131s\u0131nda yapt\u0131\u011f\u0131 r\u00f6portaj\u0131 okurlar\u0131m\u0131za sunuyoruz.\u00a0<\/p>\n","protected":false},"author":171,"featured_media":16493,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[62],"tags":[1831,2503,2504,1802,2505],"yoast_head":"\nRahmi Oru\u00e7 G\u00fcven\u00e7 ile T\u00fcrk M\u00fczi\u011fi \u00fczerine bir sohbet - M\u0130SAK- Mill\u00ee Strateji Ara\u015ft\u0131rma Kurulu<\/title>\n<meta name=\"description\" content=\"T\u00fcrk M\u00fbsik\u00eesinin tarihine bakt\u0131\u011f\u0131m\u0131z zaman, mesel\u00e2 Dede Korkut zaman\u0131nda caz\u2019\u0131n yap\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. O halde, Bat\u0131 m\u00fczi\u011finin tek\u00e2\u00adm\u00fcl etmi\u015f \u015fekli dahi T\u00fcrk M\u00fbsik\u00eesinin iptid\u00e2i say\u0131lan \u015fekline ancak yak\u00adla\u015fmaktad\u0131r. Aradaki b\u00fcy\u00fck fark budur. Sonra sizin de belirtti\u011finiz gibi bat\u0131 m\u00fczi\u011fi bir tak\u0131m kal\u0131plar\u0131n i\u00e7indedir ve hen\u00fcz o kal\u0131plar\u0131n d\u0131\u015f\u0131na \u00e7\u0131kamam\u0131\u015ft\u0131r.\" \/>\n<link rel=\"canonical\" href=\"https:\/\/millidusunce.com\/misak\/rahmi-oruc-guvenc-ile-soylesi-1984\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rahmi Oru\u00e7 G\u00fcven\u00e7 ile T\u00fcrk M\u00fczi\u011fi \u00fczerine bir sohbet - M\u0130SAK- Mill\u00ee Strateji Ara\u015ft\u0131rma Kurulu\" \/>\n<meta property=\"og:description\" content=\"T\u00fcrk M\u00fbsik\u00eesinin tarihine bakt\u0131\u011f\u0131m\u0131z zaman, mesel\u00e2 Dede Korkut zaman\u0131nda caz\u2019\u0131n yap\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. O halde, Bat\u0131 m\u00fczi\u011finin tek\u00e2\u00adm\u00fcl etmi\u015f \u015fekli dahi T\u00fcrk M\u00fbsik\u00eesinin iptid\u00e2i say\u0131lan \u015fekline ancak yak\u00adla\u015fmaktad\u0131r. Aradaki b\u00fcy\u00fck fark budur. 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