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D\u00fcnyada gelmi\u015f ge\u00e7mi\u015f ud \u00fcstadlar\u0131 aras\u0131nda sanatsal anlamda M\u00fcnir Be\u015fir’le bir k\u0131yaslama i\u00e7ine sokulabilecek ud \u00fcstadlar\u0131n\u0131n say\u0131s\u0131 bir elin parmaklar\u0131n\u0131 ge\u00e7mez. M\u00fcnir Be\u015fir’in Arap klasik m\u00fczi\u011fine, \u00f6zelde de Irak m\u00fczi\u011fine yapt\u0131\u011f\u0131 etkiyi g\u00f6sterememi\u015flerdir. Arap m\u00fczi\u011finin ikonlar\u0131ndan biri olan M\u00fcnir Be\u015fir’in babas\u0131 Tur Abdin’in Ehwo k\u00f6y\u00fcnden bir Asuri, annesi ise K\u00fcrt’t\u00fcr. 1930 y\u0131l\u0131nda Musul’da do\u011fan Be\u015fir’i m\u00fczikle tan\u0131\u015ft\u0131ran bir Arap de\u011fil, m\u00fczisyen olan Asuri babas\u0131 Abd\u00fclaziz Be\u015fir olmu\u015ftur. Babas\u0131, M\u00fcnir Be\u015fir’e o daha 5 ya\u015f\u0131ndayken a\u011fabeyi Cemil Be\u015fir ile birlikte m\u00fczik dersleri vermeye ba\u015flad\u0131. \u0130lk \u00e7almay\u0131 \u00f6\u011frendi\u011fi enstr\u00fcman keman oldu. Babas\u0131 Be\u015fir’e kemanla e\u015f zamanl\u0131 olarak ud dersleri de vermeye ba\u015flad\u0131. Musul, Be\u015fir’in m\u00fczi\u011fe ba\u015flad\u0131\u011f\u0131 d\u00f6nemde ola\u011fan\u00fcst\u00fc zenginlikte bir k\u00fclt\u00fcr \u015fehriydi. \u015eehir K\u00fcrt, Arap, Asuri, Ermeni ve T\u00fcrkmen k\u00fclt\u00fcr\u00fcn\u00fc i\u00e7inde bar\u0131nd\u0131r\u0131yordu. Be\u015fir daha \u00e7ok k\u00fc\u00e7\u00fckken b\u00f6yle bir \u015fehirde \u00e7ok de\u011fi\u015fik k\u00fclt\u00fcrlerin etki etti\u011fi bir m\u00fczik kula\u011f\u0131na sahip oldu. Evleri \u015fehirdeki de\u011fi\u015fik k\u00fclt\u00fcrlerden sanat\u00e7\u0131lar\u0131n bulu\u015fma noktas\u0131yd\u0131. Be\u015fir \u00e7ocuklu\u011funda t\u00fcm bu seslere kulak kabartt\u0131. Babas\u0131 taraf\u0131ndan hen\u00fcz 6 ya\u015f\u0131nda, o d\u00f6nemde Arap k\u00fclt\u00fcr\u00fcn\u00fcn ba\u015fkenti olan Ba\u011fdat’a g\u00f6nderildi. Be\u015fir burada \u00fcstat \u015eerif Muhyiddin Haydar Targan’\u0131n kurdu\u011fu konservatuara ba\u015flad\u0131. Be\u015fir’in konservatuarda ge\u00e7irdi\u011fi seneler t\u00fcm Arap d\u00fcnyas\u0131nda klasik Arap m\u00fczi\u011finin yava\u015f yava\u015f demode olmaya ba\u015flad\u0131\u011f\u0131 ve Bat\u0131 etkisindeki bir m\u00fczik tarz\u0131n\u0131n kendini yava\u015f yava\u015f g\u00f6sterdi\u011fi bir d\u00f6neme tekab\u00fcl ediyordu. \u0130ngiliz mandas\u0131 alt\u0131ndaki \u00fclkede, yeti\u015fkin bir m\u00fczisyen olarak ilk d\u00f6nemlerde kendini klasik Arap m\u00fczi\u011finin notaya ge\u00e7irilmesi ve ar\u015fiv \u00e7al\u0131\u015fmalar\u0131na adad\u0131. 1945-50 y\u0131llar\u0131 aras\u0131nda gen\u00e7 ya\u015f\u0131na ra\u011fmen hem Ba\u011fdat G\u00fczel Sanatlar Akademisi’nde ders veriyor, hem de Ba\u011fdat radyosundaki m\u00fczik programlar\u0131 i\u00e7in dan\u0131\u015fmanl\u0131k yap\u0131yordu.<\/p>\n Feyruz’a hocal\u0131k yapt\u0131<\/strong><\/p>\n \u00dcn\u00fc k\u0131sa bir s\u00fcre i\u00e7inde Ortado\u011fu’ya yay\u0131ld\u0131. Ud i\u00e7in yazd\u0131\u011f\u0131 par\u00e7alar ve klasik Arap m\u00fczi\u011fi uyarlamalar\u0131 geni\u015f kitleler taraf\u0131ndan b\u00fcy\u00fck be\u011feni topluyordu. Bu s\u00fcre\u00e7te Be\u015fir’in \u00fcn\u00fc onu Beyrut’a g\u00f6t\u00fcrd\u00fc. 1952 y\u0131l\u0131nda Beyrut’a var\u0131\u015f\u0131n\u0131n daha ikinci g\u00fcn\u00fc hen\u00fcz yeni yeni parlayan Feyruz’un arkas\u0131nda \u00e7almak i\u00e7in kendisine bir anla\u015fma imzalat\u0131ld\u0131. Be\u015fir, Feyruz’un arkas\u0131nda \u00e7al\u0131yordu ama bir anlamda ona hocal\u0131k da ediyordu. Beyrut’ta bulundu\u011fu s\u00fcre i\u00e7erisinde, buradaki konservatuarlarda dersler de verdi. 1953-54 y\u0131llar\u0131 art\u0131k bir ud \u00fcstad\u0131 olarak kabul edilmeye ba\u015flad\u0131\u011f\u0131 senelerdir. M\u00fcnir Be\u015fir ilk solo konserini 1953 y\u0131l\u0131nda \u0130stanbul’da verdi. 1954 y\u0131l\u0131nda ise hen\u00fcz 24 ya\u015f\u0131nda Irak televizyonuna \u00e7\u0131kt\u0131. 1957 y\u0131l\u0131nda bir Avrupa turnesine \u00e7\u0131kan M\u00fcnir Be\u015fir, 1958 y\u0131l\u0131nda Kral II. Faysal’\u0131n askeri bir darbe sonucu devrilmesinin ard\u0131ndan \u00fclkesine d\u00f6nmedi. Be\u015fir, Irak’\u0131n kozmopolit k\u00fclt\u00fcr\u00fc i\u00e7inde yeti\u015fmi\u015f bir m\u00fczisyendi. Irak’\u0131n 1950’lerden sonra b\u00fcy\u00fck bir istikrars\u0131zl\u0131\u011fa girmesi Be\u015fir’in yurtd\u0131\u015f\u0131nda ya\u015fama tercihini yapmas\u0131na neden oldu. Bir s\u00fcre Beyrut ve Avrupa’n\u0131n \u00e7e\u015fitli merkezlerinde kalan Be\u015fir, 1960 y\u0131l\u0131nda Budape\u015fte’ye yerle\u015fti ve hayat\u0131n\u0131n sonuna kadar burada ya\u015fad\u0131. Budape\u015fte’yi se\u00e7mesindeki en \u00f6nemli etkenlerden biri \u015fehrin Avrupa’n\u0131n m\u00fczik metropollerinden biri olmas\u0131yd\u0131. Be\u015fir burada Franz Liszt Konservatuar\u0131 b\u00fcnyesinde \u00fcnl\u00fc Macar m\u00fczisyen Zoltan Kodaly’den dersler ald\u0131 ve 1965’te m\u00fczikoloji doktoras\u0131n\u0131 tamamlad\u0131.<\/p>\n Be\u015fir \u00fclkesine d\u00f6n\u00fcyor O\u011fluyla bir ba\u015fyap\u0131ta imza att\u0131<\/strong><\/p>\n M\u00fcnir Be\u015fir, o\u011flu \u00d6mer Be\u015fir ile birlikte \u00e7\u0131kt\u0131\u011f\u0131 konserlerde b\u00fcy\u00fck be\u011feni topluyordu. Be\u015fir’in 1994 y\u0131l\u0131nda o\u011flu \u00d6mer ile birlikte kaydetti\u011fi alb\u00fcm\u00fc m\u00fczik d\u00fcnyas\u0131nda b\u00fcy\u00fck yank\u0131 uyand\u0131rd\u0131. Duo de \u00f3d ad\u0131 ta\u015f\u0131yan alb\u00fcm Be\u015fir’in olgunluk d\u00f6neminin ba\u015fyap\u0131t\u0131 olarak nitelendirildi. Bu d\u00f6nemde UNESCO Uluslararas\u0131 M\u00fczik Konseyi Ba\u015fkan Yard\u0131mc\u0131l\u0131\u011f\u0131 yapt\u0131. Ayr\u0131ca \u00e7al\u0131\u015fmalar\u0131ndan dolay\u0131 Fransa’da bir yabanc\u0131ya verilen en b\u00fcy\u00fck onur olan Legion D’Honour \u00fcnvan\u0131na lay\u0131k g\u00f6r\u00fcld\u00fc. Hayat\u0131n\u0131 m\u00fczi\u011fe adam\u0131\u015f olan b\u00fcy\u00fck ud \u00fcstad\u0131 1997 y\u0131l\u0131nda Budape\u015fte’de, Meksika’ya tura \u00e7\u0131kmaya haz\u0131rland\u0131\u011f\u0131 s\u0131rada ge\u00e7irdi\u011fi kalp krizi sonucu ya\u015fam\u0131n\u0131 yitirdi. M\u00fcnir Be\u015fir, Arap d\u00fcnyas\u0131n\u0131n yeti\u015ftirdi\u011fi di\u011fer ud \u00fcstatlar\u0131ndan bir\u00e7ok noktada ayr\u0131l\u0131r. Be\u015fir, hem makamlar \u00fczerinde yapt\u0131\u011f\u0131 oynamalar, hem sololar\u0131, hem de cesur bir \u015fekilde ayn\u0131 par\u00e7ay\u0131 birka\u00e7 makam aras\u0131nda ge\u00e7i\u015f yaparak sunmas\u0131 onu M\u0131s\u0131r udunun geleneksel temsilcisi Ferid El Atrache’den ve yo\u011fun bat\u0131 etkisi alt\u0131nda kalan Rabih Ebu Halil’den ay\u0131r\u0131r. Be\u015fir de\u011fi\u015fik par\u00e7alar i\u00e7in de\u011fi\u015fik ud akortlar\u0131 yapm\u0131\u015f ve bunlar\u0131 bir sistem olarak yeni ku\u015faklara aktarm\u0131\u015ft\u0131r. Deneysel nitelikler ta\u015f\u0131yan akort sistemlerinden baz\u0131lar\u0131 g\u00fcn\u00fcm\u00fczde bile tam olarak \u00e7\u00f6z\u00fclememi\u015ftir. S\u0131kl\u0131kla kulland\u0131\u011f\u0131 bir akort sistemi bug\u00fcn kendi ad\u0131yla an\u0131lmaktad\u0131r. Udu m\u0131zrab\u0131n yan\u0131 s\u0131ra bazen bir Bat\u0131 enstr\u00fcman\u0131 gibi de kullanarak parmaklar\u0131yla da \u00e7alm\u0131\u015ft\u0131. Olgunluk d\u00f6neminde ise m\u0131zrap kullanmay\u0131 tamamen b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n SERDAR ERO\u011eLU<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" D\u00fcnyada gelmi\u015f ge\u00e7mi\u015f ud \u00fcstadlar\u0131 aras\u0131nda sanatsal anlamda M\u00fcnir Be\u015fir’le bir k\u0131yaslama i\u00e7ine sokulabilecek ud \u00fcstadlar\u0131n\u0131n say\u0131s\u0131 bir elin parmaklar\u0131n\u0131 ge\u00e7mez. M\u00fcnir Be\u015fir’in Arap klasik m\u00fczi\u011fine, \u00f6zelde de Irak m\u00fczi\u011fine yapt\u0131\u011f\u0131 etkiyi g\u00f6sterememi\u015flerdir. Arap m\u00fczi\u011finin ikonlar\u0131ndan biri olan M\u00fcnir Be\u015fir’in babas\u0131 Tur Abdin’in Ehwo k\u00f6y\u00fcnden bir Asuri, annesi ise K\u00fcrt’t\u00fcr. 1930 y\u0131l\u0131nda Musul’da do\u011fan Be\u015fir’i […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"class_list":{"0":"post-3967","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-muzisyenler"},"yoast_head":"\n
\u00c7okk\u00fclt\u00fcrl\u00fc yap\u0131da yeti\u015fti<\/strong><\/p>\n
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M\u00fcnir Be\u015fir bu d\u00f6nemde Avrupa’da bir\u00e7ok merkezde b\u00fcy\u00fck konserler verdi. Be\u015fir Avrupa ve Amerika’da neredeyse en pop\u00fcler Ortado\u011fulu sanat\u00e7\u0131 konumundayd\u0131. Bu durum Irak’ta da yank\u0131s\u0131n\u0131 buluyordu. 1973 y\u0131l\u0131nda hen\u00fcz Baas rejimi kendisini tam olarak in\u015fa etmemi\u015fken Irak Enformasyon Bakanl\u0131\u011f\u0131 Be\u015fir’i K\u00fclt\u00fcr Komitesi \u00fcyeli\u011fine atad\u0131. Baas rejimi Be\u015fir’i, \u00fclkedeki Asuri ve K\u00fcrtleri Irak s\u0131n\u0131rlar\u0131 i\u00e7inde tutma politikas\u0131n\u0131n bir arac\u0131 olarak g\u00f6r\u00fcyordu. Bu tarihten sonra Be\u015fir s\u0131k s\u0131k Ba\u011fdat’a gidip gelmeye ba\u015flad\u0131. Baas rejiminden Irak geleneksel m\u00fczik par\u00e7alar\u0131n\u0131n toparlanmas\u0131 projesi i\u00e7in destek alan Be\u015fir, bir\u00e7ok \u00f6\u011frencisiyle birlikte hummal\u0131 bir \u00e7al\u0131\u015fmaya giri\u015fti. M\u00fcnir Be\u015fir bu \u00e7al\u0131\u015fmas\u0131n\u0131 1987 y\u0131l\u0131nda, \u0130ran ve Irak aras\u0131ndaki sava\u015f devam ederken tamamlad\u0131. 1991 y\u0131l\u0131ndaki K\u00f6rfez Sava\u015f\u0131n\u0131n ard\u0131ndan da \u00fclkeyi bir daha d\u00f6nmemek \u00fczere terk etti. <\/p>\n
Kendi ad\u0131yla an\u0131lan akort sistemi var<\/strong><\/p>\n