![](\"images\/stories\/kazancibedih.jpg\")
<\/p>\n<\/p>\n
\u0130nsanl\u0131k tarihi ile ya\u015f\u0131t olan m\u00fczik; \u0131rk\u0131, dini, dili, inanc\u0131, topra\u011f\u0131 ve bayra\u011f\u0131 ayr\u0131 insanlar\u0131 ayn\u0131 ezgide birle\u015ftirecek, bir araya getirecek bir g\u00fcce sahiptir. G\u00fcn\u00fcm\u00fcze gelinceye kadar \u00e7e\u015fitli seyirler ve geli\u015fmeler kaydeden m\u00fczik, toplumla etkile\u015fip b\u00fct\u00fcnle\u015fen sanatlar\u0131n ba\u015f\u0131nda yer alm\u0131\u015ft\u0131r.<\/p>\n
Duygu ve d\u00fc\u015f\u00fcncelerin ses, s\u00f6z ve ezgilerle anlat\u0131ld\u0131\u011f\u0131 bir ileti\u015fim arac\u0131 olan m\u00fczik, ayn\u0131 zamanda k\u00fclt\u00fcr\u00fcn temel \u00f6\u011felerinden biridir. D\u00fc\u015f\u00fcncenin ve felsefenin \u015fekillendirdi\u011fi, beyinle do\u011frudan ba\u011flant\u0131s\u0131 olan bir \u201cg\u00f6n\u00fcl dili\u201d olan m\u00fczik, ayn\u0131 zamanda insanl\u0131\u011f\u0131n ortak mal\u0131 olarak da g\u00f6r\u00fclmektedir.<\/p>\n
G\u00fczel insanlar, ya\u015fad\u0131klar\u0131 ortamda \u201cg\u00fczellik duygusu\u201d ile g\u00fczel \u015feyler \u00fcretirler. Bu g\u00fczelliklerden pay almak isteyen insanlar da bu ihtiya\u00e7lar\u0131n\u0131, \u00fcretilen g\u00fczel sanat eserlerinden kar\u015f\u0131layarak ruhlar\u0131n\u0131 doyurmu\u015f olurlar.<\/p>\n
\u0130nsan ruhu, duygusu, akl\u0131 ve zek\u00e2s\u0131, k\u00fclt\u00fcr\u00fc ve birikiminin \u00fcr\u00fcn\u00fc olarak \u00fcretilen \u201cg\u00fczel m\u00fczik eserleri\u201d ku\u015faktan ku\u015fa\u011fa aktar\u0131larak daha sonra gelen insanlar\u0131n duygu ve d\u00fc\u015f\u00fcnce d\u00fcnyalar\u0131n\u0131 olu\u015ftururlar. Sanat ve k\u00fclt\u00fcr adamlar\u0131, bir yandan toplumlar\u0131n de\u011ferleriyle \u015fekillenir, di\u011fer yandan da yaratt\u0131klar\u0131 eserlerle toplumu etkileyerek \u015fekillendirirler. Halk M\u00fczi\u011fimiz de bu s\u00fcre\u00e7te y\u00fczy\u0131llar boyu halk\u0131m\u0131z taraf\u0131ndan \u00fcretilmi\u015f, be\u011fenilerek icra edilmi\u015f, bi\u00e7imlenmi\u015f, dilden dile, kulaktan kula\u011fa dola\u015fm\u0131\u015f, ya\u015fat\u0131lm\u0131\u015f ve g\u00fcn\u00fcm\u00fcze kadar gelmi\u015ftir.<\/p>\n
\u015eanl\u0131urfa m\u00fczik k\u00fclt\u00fcr\u00fc…<\/strong> \u015eanl\u0131urfa’da m\u00fczi\u011fin geli\u015fmesi, yayg\u0131nla\u015fmas\u0131, ya\u015fat\u0131lmas\u0131 ve yeni eserlerle yeni sanat\u00e7\u0131lar\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131nda en \u00f6nemli fakt\u00f6r \u201cs\u0131ra geceleri\u201d, \u201coda toplanmalar\u0131\u201d ve \u201cda\u011f yat\u0131 geceleri\u201ddir. <\/p>\n Genellikle k\u0131\u015f gecelerinde, birbirine yak\u0131n ya\u015f grubundaki arkada\u015f gruplar\u0131n\u0131n, her hafta bir ba\u015fka arkada\u015f\u0131n evinde olmak \u00fczere, haftada bir ak\u015fam, belirli bir niteli\u011fe ve d\u00fczene g\u00f6re s\u0131ra ile yapt\u0131klar\u0131 toplant\u0131lara \u015eanl\u0131urfa\u2019da “s\u0131ra gecesi” denilmektedir. Gen\u00e7 ya\u015f\u0131ndan itibaren s\u0131ra gecesine kat\u0131lan Urfal\u0131, bu gecelerde gelenek ve g\u00f6reneklerini, m\u00fczik k\u00fclt\u00fcr\u00fcn\u00fc, toplumsal ya\u015fam kurallar\u0131n\u0131, sayg\u0131y\u0131, ho\u015fg\u00f6r\u00fcy\u00fc ve dayan\u0131\u015fmay\u0131 \u00f6\u011frenmektedir. \u201cS\u0131ra gecesi\u201d ad\u0131yla d\u00fczenlenen, mizansen televizyon programlar\u0131nda; s\u0131ra gecesi\u2019ndeki sohbet, geleneksel oyunlar ve m\u00fczik gibi b\u00f6l\u00fcmlerin tamam\u0131 yans\u0131t\u0131lmadan, s\u0131ra gecesinin sadece \u201cm\u00fczik fasl\u0131\u201d b\u00f6l\u00fcm\u00fc ve \u00e7i\u011fk\u00f6fte sunulmaktad\u0131r. Bu nedenle s\u0131ra gecesi denildi\u011fi zaman, yayg\u0131n olarak “m\u00fczik gecesi” anla\u015f\u0131lmaktad\u0131r. Halbuki m\u00fczik, s\u0131ra gecesinin sadece bir b\u00f6l\u00fcm\u00fcd\u00fcr. <\/p>\n Eski bir gelenek olan \u201cda\u011f gezmeleri ve yat\u0131\u201dya ise y\u0131l\u0131n her mevsiminde uzun s\u00fcreli veya bir-iki geceli\u011fine erkek arkada\u015f gruplar\u0131yla gidilir. Urfa\u2019n\u0131n g\u00fcneyinde ve bat\u0131s\u0131nda yer alan da\u011flarda bulunan \u00e7ok say\u0131daki ma\u011fara bu i\u015f i\u00e7in kullan\u0131l\u0131r. \u201cDa\u011f yat\u0131 geceleri\u201dnde yemek ve sohbetten sonra sazlar, c\u00fcmb\u00fc\u015fler \u00e7alar, gazel, hoyrat ve t\u00fcrk\u00fcler okunur. Bu \u201cahenkler\u201de yaz gecelerinde kom\u015fu gruplar gazel, t\u00fcrk\u00fc ve hoyratlarla cevap verirler. Heyecanl\u0131, ne\u015feli ve zevkli at\u0131\u015fmalar\u0131n yer ald\u0131\u011f\u0131 kar\u015f\u0131l\u0131kl\u0131 \u201cahenkler\u201din sabaha kadar devam etti\u011fi olur.<\/p>\n Urfa’da geleneksel m\u00fczi\u011fin ustalar\u0131ndan Mukim Tahir, Kel Hamza, Damburac\u0131 Dervi\u015f, Cemil Cankat, Bek\u00e7i Bak\u0131r, Tenekeci Mahmut, Ahmet Haf\u0131z, Kazanc\u0131 Bedih, Mehmet \u00d6zbek, Seyfettin Sucu, Mustafa Sava\u015f, Bak\u0131r Karada\u011fl\u0131 ve daha sayabilece\u011fimiz bir\u00e7ok m\u00fczisyen bu ortamlarda yeti\u015fmi\u015f ve ustal\u0131k d\u00f6nemlerinde de gen\u00e7ler kendilerinden istifade etmi\u015ftir. 1926 y\u0131l\u0131nda derleme \u00e7al\u0131\u015fmalar\u0131 yapmak \u00fczere Dar’\u00fcl-Elhan (\u0130stanbul Konservatuar\u0131)’dan Urfa’ya gelen heyette bulunan Ekrem Besim Bey, Urfal\u0131 musiki\u015finaslar ve icralar\u0131 hakk\u0131nda: “…..\u015eunu ilave etmek isterim ki, Urfa’da dinledi\u011fimiz zevat\u0131n hemen c\u00fcmlesi, m\u00fczi\u011fe az \u00e7ok vak\u0131f insanlard\u0131. Terenn\u00fcm ettikleri par\u00e7alar\u0131n hangi makamda oldu\u011funu ve seyrini bilerek okuyorlar. Urfal\u0131lar\u0131n sesleri \u00e7ok temiz ve tizdir. ilk i\u015fitti\u011fim vakit erkek sesinin bu kadar y\u00fcksek perdelere fennin vesaitinden istifade etmeksizin eri\u015febilece\u011fine hayret ettim” diye yazmaktan kendini alamam\u0131\u015ft\u0131r. <\/p>\n Duygular\u0131n, d\u00fc\u015f\u00fcncelerin, sevginin, \u0131st\u0131rab\u0131n, mutlulu\u011fun ve hayat\u0131n di\u011fer \u00f6zelliklerinin t\u00fcrk\u00fclere, hoyratlara, gazellere ince ince i\u015flendi\u011fi Urfa Havalar\u0131 m\u00fczik camias\u0131nca ve geni\u015f kitlelerce sevilmekte ve zevkle dinlenmektedir.<\/p>\n T\u00fcrk m\u00fczi\u011fi makamlar\u0131n\u0131n bir\u00e7o\u011funu, \u015eanl\u0131urfa ezgilerinde g\u00f6rmek m\u00fcmk\u00fcnd\u00fcr. Makam seyrine g\u00f6re, sanat de\u011feri y\u00fcksek ezgilerin; ba\u011flama, kaval, ud, tambur, kanun ve keman gibi sazlarla icra edildi\u011fi m\u00fczik meclislerinde t\u00fcrk\u00fcler yan\u0131nda \u015fark\u0131lar ve gazeller de icra edilmektedir. Reh\u00e2v\u00ee, Urfa, Urfa-Mahur ve K\u0131l\u0131\u00e7l\u0131 makamlar\u0131n\u0131n Urfa ile ili\u015fkili olmas\u0131 ise m\u00fczi\u011fin y\u00f6rede ne kadar etkin oldu\u011funu g\u00f6stermektedir. <\/p>\n S\u0131ra gecelerinin yan\u0131s\u0131ra, 1932-1951 aras\u0131 \u201cUrfa Halkevi\u201dnde m\u00fczik faaliyetlerini yo\u011fun bir \u015fekilde g\u00f6rmekteyiz. 1955-1975 aras\u0131nda ise \u201cUrfa Musiki Cemiyeti\u201dnde, de\u011ferli ustalardan Mahmut G\u00fczelg\u00f6z (Tenekeci Mahmut), Karak\u00f6pr\u00fcl\u00fc \u0130smail, \u0130zzet Delio\u011flu (Demir \u0130zzet), Mehmet \u015eeng\u00fcl, Abdurrahman Sava\u015fan (Camg\u00f6z Abe), Neyzen Haf\u0131z \u0130smail Baba (K\u0131de Haf\u0131z), Mehmet Sa\u011flamkol (Kurrik Mahey), \u0130sa Barak, ba\u011flama \u00fcstad\u0131 Aziz \u00c7ekirge ve Ahmet Alaybeyi gibi g\u00fczel insanlar y\u00fcreklerini a\u00e7arak, as\u0131rl\u0131k Urfa t\u00fcrk\u00fclerini, gazellerini ve hoyratlar\u0131n\u0131 gen\u00e7lere \u00f6\u011freterek k\u00fclt\u00fcrel miras\u0131n bug\u00fcnlere gelmesini sa\u011flam\u0131\u015flard\u0131r.<\/p>\n Kazanc\u0131 Bedih…<\/strong><\/p>\n Kazanc\u0131 Bedih lakab\u0131yla tan\u0131nan Bedih Yoluk 1929 senesinde Urfa\u2019n\u0131n Hekimdede Mahallesi\u2019nde do\u011far. Culhac\u0131l\u0131k yapan babas\u0131 Halil Usta\u2019n\u0131n mesle\u011finden \u00e7ocukluk y\u0131llar\u0131nda ilk sanat zevkini al\u0131r. Gen\u00e7lik d\u00f6neminde, o y\u0131llarda \u00e7ok de\u011ferli bir sanat olan bak\u0131rc\u0131l\u0131k mesle\u011fine Hasan Diyar Usta\u2019n\u0131n yan\u0131nda ba\u015flar ve 15 y\u0131l kadar bu mesle\u011fi s\u00fcrd\u00fcr\u00fcr. 1960 l\u0131 y\u0131llarda belediyede i\u015fe girer ve 26 y\u0131l \u00e7al\u0131\u015f\u0131p emekli olur.<\/p>\n 1960\u2019tan evvelin Urfa\u2019s\u0131nda, Derg\u00e2h-Bal\u0131kl\u0131g\u00f6l ve Hasan Padi\u015fah Camisi\u2019nin aras\u0131nda yer alan Mecmue\u2019l Bahr denilen yer, yaz\u0131n ve bahar aylar\u0131nda dinlenilen, sefa s\u00fcr\u00fclen tarihi bir mekand\u0131r. Sular\u0131n topland\u0131\u011f\u0131 yer anlam\u0131na gelen Mecmue\u2019l Bahr; ye\u015fillikler ve g\u00fcller aras\u0131na konulmu\u015f kerevitlerde \u00e7ay, kahve, nargile i\u00e7en insanlar\u0131n sohbet i\u00e7in bulu\u015fma yeriydi. Baz\u0131 geceler m\u00fczikli toplant\u0131larla fas\u0131llar ge\u00e7ilir; Urfa\u2019n\u0131n m\u00fczik ustalar\u0131ndan Mukim Tahir, Kel Hamza, Tenekeci Mahmut gibi ustalar b\u00fclb\u00fcl sesleri ve su sesleri aras\u0131nda burada me\u015fk ederlerdi. Gen\u00e7 ya\u015ftaki Bedih ise babas\u0131yla gitti\u011fi Mecmue\u2019l Bahr\u2019da gramofondan Haf\u0131z Burhan, Safiye Ayla, Hamiyet Y\u00fcceses, M\u00fczeyyen Senar gibi \u00fcnl\u00fc sanat\u00e7\u0131lar\u0131 ilgiyle ve hayranl\u0131kla dinlerdi.<\/p>\n Kazanc\u0131 Bedih 17 ya\u015f\u0131nda Necim \u015e\u0131he (\u015e\u0131hm\u00fcsl\u00fcm G\u00f6rg\u00fcn) ile gitti\u011fi bir s\u0131ra gecesinde \u00f6ylesine etkileyici bir m\u00fczik icras\u0131yla kar\u015f\u0131la\u015f\u0131r ki, hayat\u0131n\u0131 etkileyen bir gece ya\u015far. O geceden sonra m\u00fczik me\u015fkleri ve sohbetlerine kat\u0131lmaya devam eden Kazanc\u0131 Bedih\u2019in m\u00fczik merak\u0131 artarak devam eder. Bu y\u0131llarda Necim \u015e\u0131he kendisine c\u00fcmb\u00fc\u015f ve tambur \u00e7almas\u0131n\u0131 \u00f6\u011fretir. Esasen birer meslek sahibi olup \u00f6zel zevkleri m\u00fczik olan ustalardan; Damburac\u0131 Dervi\u015f, Hac\u0131 Nuri Haf\u0131z, Haf\u0131z Ahmet Uzung\u00f6l, \u00c7ulha Haf\u0131z, Haf\u0131z \u015e\u00fckr\u00fc \u00c7ad\u0131rc\u0131, Tenekeci Mahmut\u2019u m\u00fczik meclislerinde ilgi ile dinler ve birlikte olur. \u00d6zellikle Tenekeci Mahmut Usta\u2019dan ald\u0131\u011f\u0131 bilgilerle, m\u00fczik meclislerinde kendi tavr\u0131yla okuduk\u00e7a dinleyenlerin be\u011fenisini kazan\u0131r. <\/p>\n Nice bir hasret-i dild\u00e2r ile giry\u00e2n olay\u0131m G\u00f6rmedim g\u00fcl y\u00fcz\u00fcn\u00fc ah \u00fc fig\u00e2n etmedeyim Do\u011fdu\u011fu ve ya\u015fad\u0131\u011f\u0131 y\u00f6re k\u00fclt\u00fcr\u00fcn\u00fcn Kazanc\u0131 Bedih\u2019in ki\u015fili\u011fi \u00fczerinde etkisi b\u00fcy\u00fckt\u00fcr. Olu\u015fan m\u00fczik birikimi ise yorumunun \u015fekillenmesinde etkili olmu\u015ftur. Mensup oldu\u011fu \u201csoylu k\u00fclt\u00fcr kayna\u011f\u0131\u201dndan birikiminin beslenmi\u015f olmas\u0131 da \u201car\u0131n\u0131n \u00e7evresindeki \u00e7i\u00e7eklerden yararlan\u0131p bal \u00fcretmesi\u201d misalidir. <\/p>\n \u015eanl\u0131urfa’da “Tak\u0131m” ad\u0131 verilen belirli gruplar kendi aralar\u0131nda s\u0131ra gezerler ve gecelere kat\u0131l\u0131p m\u00fczik icra ederler. Her tak\u0131m kendi ustas\u0131n\u0131n veya kurucusunun ad\u0131 ile s\u00f6ylenir. Mesela; Mukim Tahir’in, Kel Hamza’n\u0131n, Tenekeci Mahmut\u2019un, Kazanc\u0131 Bedih’in, Aziz \u00c7ekirge\u2019nin, Fazl\u0131 \u00d6ztop\u2019un, Mehmet Nacak\u2019\u0131n tak\u0131mlar\u0131 gibi… Bir s\u00fcre sonra, arkada\u015flar\u0131 Mehmet \u00c7elik, Ali Kanun, Hasan Diyar, Necim \u015e\u0131h (\u015e\u0131h M\u00fcsl\u00fcm G\u00f6rg\u00fcn), \u00c7\u0131r\u00e7\u0131r Mahe, Nacar Celal ve Mustafa Usta ile bir \u201ctak\u0131m\u201d olu\u015fturan Bedih Usta\u2019n\u0131n sesi yank\u0131lan\u0131r Urfa semalar\u0131nda…<\/p>\n A\u011farm\u0131\u015f sa\u00e7lar\u0131n bir da\u011f ba\u015f\u0131nda kare d\u00f6nm\u00fc\u015ft\u00fcr Toplumun birikiminden beslenen sanat\u00e7\u0131n\u0131n, edindi\u011fi k\u00fclt\u00fcr ve birikim sonucu olu\u015fturdu\u011fu eserler toplumu olumlu etkilemektedir. Zaten; \u201cait oldu\u011fu toplumun k\u00fclt\u00fcr\u00fc, zevki, ruh ahengi, d\u00fc\u015f\u00fcnce ve hayat felsefesinden habersiz bir sanat\u00e7\u0131n\u0131n veya ayd\u0131n\u0131n o insanlara verece\u011fi bir \u015fey yoktur\u201d s\u00f6z\u00fc de bu ger\u00e7e\u011fi \u00e7ok g\u00fczel ifade etmektedir.<\/p>\n Urfa\u2019da mahalli m\u00fczik kay\u0131tlar\u0131 ve kahvehaneler…<\/strong> Karadan a\u011fa d\u00f6n\u00fcp dersi dil\u00e2r\u00e2 okuruz ….<\/p>\n Tenh\u00e2 gecelerde beni eyler m\u00fcteselli Urfa’da “Yasin’in Kahvehanesi” denildi mi, akla hemen mahalli m\u00fczik bantlar\u0131 gelirdi. Urfa’da kasnak bant \u00e7al\u0131nan teypler kimsede yok iken, GRUNDIG marka teyple 1965 y\u0131l\u0131nda burada tan\u0131\u015fm\u0131\u015f merakl\u0131lar. Tabi \u00f6ncelikle Yasin’in m\u00fczik merak\u0131 bu olguyu olu\u015fturmu\u015f. M\u00fczik icra etmek kadar m\u00fczik dinlemeye de d\u00fc\u015fk\u00fcn Urfal\u0131lar, y\u0131llarca bu tarihi kahvehanede sahibi taraf\u0131ndan kaydedilen mahalli bantlar\u0131 dinleyerek bu ihtiya\u00e7lar\u0131n\u0131 giderirlerdi.<\/p>\n \u00d6yle sermestem ki idrak etmezem d\u00fcnya nedir Urfal\u0131 sanat\u00e7\u0131lar\u0131n da s\u0131k\u00e7a geldi\u011fi bu kahvehaneye kom\u015fu illerden bant dinlemek i\u00e7in gelip giden m\u00fc\u015fteriler de olurdu. Burada bantlar\u0131 \u00e7al\u0131nan mahalli sanat\u00e7\u0131lar, zamanla bu sayede tan\u0131nm\u0131\u015f ve me\u015fhur olmu\u015flard\u0131r. G\u00fcn\u00fcm\u00fczde televizyonun ve kaset\u00e7alarlar\u0131n yayg\u0131nla\u015fmas\u0131 ile bu tarihi kahvehanede bantlardan m\u00fczik dinleme zevki de ortadan kalkm\u0131\u015f, eski m\u00fc\u015fteriler de u\u011framaz olmu\u015flard\u0131r. Bantlar\u0131n \u00e7o\u011fu Yasin’in \u00e7ocuklar\u0131 taraf\u0131ndan ar\u015five kald\u0131r\u0131lm\u0131\u015ft\u0131r. Y\u0131llar ge\u00e7tik\u00e7e Kazanc\u0131 Bedih s\u0131ra gecelerindeki ki\u015fili\u011fi, g\u00fczel sesi ve icras\u0131ndan dolay\u0131, \u00e7\u0131rakl\u0131ktan kalfal\u0131\u011fa; kalfal\u0131ktan, ustal\u0131\u011fa giden bir yolda \u201cPir\u201d ve \u201cBedih Usta\u201d lakab\u0131yla da an\u0131lmaya ba\u015flar… \u201cS\u0131ra geceleri bir konservatuard\u0131r. Hepimiz o okuldan mezun olduk ne g\u00fczel. Y\u00fczlerce t\u00fcrk\u00fcden, gazelden, mayadan, hoyrattan olu\u015fan da\u011farc\u0131\u011f\u0131m\u0131z olu\u015ftu…\u201d diye \u00f6zetler her \u015feyi.<\/p>\n Kazanc\u0131 Bedih; Fuz\u00fbl\u00ee, N\u00e2b\u00ee, Nez\u00eehe, Nes\u00eem\u00ee, Feh\u00eem, Abd\u00ee, L\u00fctf\u00ee gibi \u015fairlere ait gazelleri okuyarak yeni ku\u015fa\u011f\u0131n ilgisini Divan Edebiyat\u0131\u2019na \u00e7ekmi\u015ftir. Seslendirdi\u011fi eserleriyle bizlere geleneksel m\u00fczi\u011fimizden esintiler sunan Pir\u2019in m\u0131zrab\u0131nda ve sesinde duygusal ve dokunakl\u0131 bir ifade \u0130le kendine has tav\u0131r hakimdir. Urfa m\u00fczik hayat\u0131nda, y\u00f6renin \u00f6zelliklerini de yans\u0131tan, \u201cKazanc\u0131 Bedih Tavr\u0131\u201d olarak bir tav\u0131r olu\u015fmu\u015ftur. Onun tavr\u0131n\u0131 ya\u015fatan o\u011flu, de\u011ferli arkada\u015f\u0131m Naci Yoluk da babas\u0131 gibi ud \u00e7almakta ve gazel tarz\u0131n\u0131 ba\u015far\u0131yla s\u00fcrd\u00fcrmektedir.<\/p>\n 1990\u2019dan sonra, kendisinden bir ku\u015fak sonraki sanat\u00e7\u0131lardan ba\u011flama \u00fcstad\u0131 Mehmet Nacak, Abdullah Uyan\u0131k, Kaz\u0131m \u00c7iri\u015f, Abd\u00fclkadir Karaku\u015f, Mehmet \u00d6ncel, Naci Yoluk, Tahir G\u00fcm\u00fc\u015f, \u0130mam Karakurt, Kadir E\u011flence, Yasin Aslan ile birlikte olu\u015fturduklar\u0131 \u201ctak\u0131m\u201d, Urfa gecelerinin ve nezih meclislerin sevilen, say\u0131lan, vazge\u00e7ilmez toplulu\u011fu olur.<\/p>\n Urfa\u2019da herkes tan\u0131rd\u0131 Kazanc\u0131 Bedih Usta\u2019y\u0131. T\u00fcrkiye\u2019de tan\u0131nmas\u0131 ise televizyonlarda \u201cmizansen s\u0131ra geceleri\u2019nde gazel okuduk\u00e7a nasip oldu… Mahalli ve Ulusal televizyonlarda bir \u00e7ok programa kat\u0131ld\u0131. Y\u00fczlerce mahalli banttan sonra \u0130stanbul\u2019daki yap\u0131mc\u0131lar taraf\u0131ndan profesyonelce haz\u0131rlanan 15 kadar kaset ve cd\u2019si yurt i\u00e7i ve yurt d\u0131\u015f\u0131nda be\u011feni kazand\u0131. \u015eanl\u0131urfa\u2019n\u0131n tan\u0131t\u0131m\u0131na b\u00fcy\u00fck katk\u0131lar\u0131 oldu… 2003 y\u0131l\u0131nda yap\u0131lan \u201cKazanc\u0131 Bedih ve O\u011flu\u201d isimli kaset ve Vcd, M\u00fczik gelene\u011finin babadan-o\u011fula devam\u0131n\u0131n g\u00fczel bir \u00f6rne\u011fi olmu\u015ftur. <\/p>\n M\u00fctevazili\u011fi, i\u00e7tenli\u011fi ve sorulara verdi\u011fi samimi cevaplarla, tam olarak izah edemese de, yerinin buralar olmad\u0131\u011f\u0131n\u0131 \u00e7ok iyi biliyordu. 2003 Eyl\u00fcl ay\u0131nda 76 ya\u015f\u0131ndayken, Bak\u0131rc\u0131lar \u00c7ar\u015f\u0131s\u0131\u2019ndaki mesle\u011fine d\u00f6nme karar\u0131 vermesinin de bir anlam\u0131 vard\u0131. Belki de Pir, Nezihe Ya\u015far\u2019\u0131n; <\/p>\n G\u00fcl ruhlar\u0131n\u0131 gonca-i zib\u00e2ya de\u011fi\u015fmem M\u0131sralar\u0131yla bunu anlatmaya \u00e7al\u0131\u015f\u0131yordu. Baz\u0131 sanat\u00e7\u0131lar\u0131n ekranlarda boy g\u00f6sterip halk m\u00fczi\u011fi diye sa\u00e7malamalar\u0131 onda burukluk yaratm\u0131\u015ft\u0131. Son r\u00f6portaj\u0131nda, yoruldu\u011funu, kazanc\u0131l\u0131k mesle\u011fini \u00f6zledi\u011fini, gen\u00e7lerin yeti\u015fmekte oldu\u011funu vurgulay\u0131p dinlenmek istedi\u011fini, \u015f\u00f6hretin kendisi i\u00e7in \u00f6nemli olmad\u0131\u011f\u0131n\u0131 belirtmi\u015fti… \u00c7\u00fcnk\u00fc O halk\u0131n g\u00f6nl\u00fcnde \u201cPir\u201ddi…<\/p>\n Pir, bir \u00f6nceki ku\u015fa\u011f\u0131n son temsilcili\u011fini gururla ifa etmi\u015ftir. Bug\u00fcn gen\u00e7 ku\u015faktan gazel okuyanlar, Kazanc\u0131 Bedih\u2019ten feyzal\u0131p etkilenmi\u015flerdir. Yeni ku\u015faktan ise Mehmet \u00d6zbek, Mercan \u00d6zkan, Halil Sezgin, Halil Alt\u0131ng\u00f6z, Musa Kald\u0131, Bak\u0131r Karada\u011fl\u0131, Mehmet G\u00fczelg\u00f6z ve Bekir \u00c7i\u00e7ek gazel tarz\u0131n\u0131 ba\u015far\u0131yla ya\u015fatmaktad\u0131rlar.<\/p>\n Anadolu\u2019da do\u011fan, ad\u0131n\u0131 duymad\u0131\u011f\u0131m\u0131z kimileri; t\u00fcrk\u00fclerini, a\u011f\u0131tlar\u0131n\u0131, gazellerini s\u00f6yleyip \u201cseslerini\u201d bile bir kay\u0131tla b\u0131rakamadan g\u00f6\u00e7\u00fcp gittiler bu alemden… <\/p>\n Sesi bize y\u00e2dig\u00e2r kalan Kazanc\u0131 Bedih\u2019in 60 y\u0131ll\u0131k m\u00fczik hayat\u0131nda say\u0131s\u0131 bilinmeyen kay\u0131tlar\u0131 yap\u0131ld\u0131 bantlara, cd\u2019lere… Ya\u015farken \u00e7ok de\u011ferli izler b\u0131rakt\u0131 arkas\u0131nda. <\/p>\n Anadolu\u2019nun zengin k\u00fclt\u00fcr\u00fcn\u00fcn yok edilmeye \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 y\u0131llarda, Kazanc\u0131 Bedih g\u00f6nl\u00fc ve diliyle kutsal miras olarak ta\u015f\u0131d\u0131\u011f\u0131 ezgileri T\u00fcrkiye\u2019ye hediye edip g\u00f6\u00e7t\u00fc sessizce… <\/p>\n 20 Ocak 2004\u2019te sanat d\u00fcnyas\u0131 ac\u0131 bir haberle sars\u0131ld\u0131. De\u011ferli bir sanat\u00e7\u0131n\u0131n, yan\u0131na hayat yolda\u015f\u0131n\u0131 da alarak \u00e7\u0131kt\u0131\u011f\u0131 \u201ckah\u0131rl\u0131 bir yitiklik \u00f6yk\u00fcs\u00fc\u201d kald\u0131 geride… \u201cAcaba ya\u015farken k\u0131ymetini bildik mi?\u201d sorusunu sordurdu herkese… Doyumsuz eserlerini bizler de kutsal bir miras gibi gelece\u011fe ta\u015f\u0131mal\u0131y\u0131z… Ruhu \u015fad olsun.<\/p>\n T\u00fcrk\u00fcler, gazeller, mayalar, uzun havalar bir kez daha \u00f6ks\u00fcz kald\u0131 sevgili dostlar. \u00c7\u00fcnk\u00fc gidenlerin yerini doldurmak \u00f6yle kolay de\u011fil. Sadece \u015eanl\u0131urfa\u2019n\u0131n de\u011fil b\u00fct\u00fcn T\u00fcrkiye\u2019nin ba\u015f\u0131 sa\u011f olsun… <\/p>\n S. Sabri K\u00dcRK\u00c7\u00dcO\u011eLU<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" \u0130nsanl\u0131k tarihi ile ya\u015f\u0131t olan m\u00fczik; \u0131rk\u0131, dini, dili, inanc\u0131, topra\u011f\u0131 ve bayra\u011f\u0131 ayr\u0131 insanlar\u0131 ayn\u0131 ezgide birle\u015ftirecek, bir araya getirecek bir g\u00fcce sahiptir. G\u00fcn\u00fcm\u00fcze gelinceye kadar \u00e7e\u015fitli seyirler ve geli\u015fmeler kaydeden m\u00fczik, toplumla etkile\u015fip b\u00fct\u00fcnle\u015fen sanatlar\u0131n ba\u015f\u0131nda yer alm\u0131\u015ft\u0131r. Duygu ve d\u00fc\u015f\u00fcncelerin ses, s\u00f6z ve ezgilerle anlat\u0131ld\u0131\u011f\u0131 bir ileti\u015fim arac\u0131 olan m\u00fczik, ayn\u0131 zamanda […]<\/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-3968","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-muzisyenler"},"yoast_head":"\n
Yerle\u015fim merkezi olarak 11.000 y\u0131ll\u0131k bir tarihe sahip olan \u015eanl\u0131urfa, tarih boyunca bir\u00e7ok medeniyete ev sahipli\u011fi yapm\u0131\u015f olup zengin bir k\u00fclt\u00fcr birikimine sahiptir. Urfal\u0131lar\u0131n m\u00fczi\u011fe olan kabiliyetleri ve tutkular\u0131 sonucunda, tarihi \u015fehrin \u015f\u00f6hretinde m\u00fczi\u011fin de pay\u0131 olmu\u015ftur. <\/p>\n
Adeta “halk konservatuar\u0131” niteli\u011findeki s\u0131ra geceleri, usta-\u00e7\u0131rak gelene\u011fi i\u00e7erisinde m\u00fczi\u011fin icra edildi\u011fi me\u015fk ortamlar\u0131d\u0131r. Enstr\u00fcman \u00e7alan ve okuyucu ki\u015filerin olu\u015fturdu\u011fu \u201cs\u0131ralar\u201dda, makam seyri i\u00e7erisinde sistemli m\u00fczik icra edilir. M\u00fczi\u011fe ilgi duyan gen\u00e7ler, ustalar\u0131 dinleyerek m\u00fczik bilgisi ve terbiyesini bu gecelerde al\u0131rlar. Kulaklar e\u011fitilir, eller e\u011fitilir ve diller e\u011fitilir geceler boyu. Gelenek ve zerafet \u00f6\u011fretilir dededen toruna…<\/p>\n
D\u00fc\u011f\u00fcnde, esbap gecelerinde, e\u011flencede, da\u011f yat\u0131lar\u0131nda, s\u0131ra gecelerinde ve arkada\u015f toplant\u0131lar\u0131ndaki m\u00fczik icras\u0131na yedisinden yetmi\u015fine kadar hemen hemen her Urfal\u0131\u2019n\u0131n kat\u0131larak t\u00fcrk\u00fc, \u015fark\u0131, gazel ve hoyrat s\u00f6yleyebilmesi y\u00f6rede m\u00fczi\u011fin yayg\u0131n oldu\u011funun g\u00f6stergesidir. <\/p>\n
Yanay\u0131m \u00e2te\u015f-i a\u015fk\u0131n ile b\u00fcry\u00e2n olay\u0131m<\/p>\n
Ak\u0131t\u0131p g\u00f6zya\u015f\u0131m\u0131 dert ile n\u00e2l\u00e2n olay\u0131m<\/p>\n
O da\u011f\u0131n d\u00e2mendinde g\u00f6zlerim enh\u00e2re d\u00f6nm\u00fc\u015ft\u00fcr<\/p>\n
B\u00fcy\u00fck makara teyplerin Urfa\u2019ya geli\u015finden sonra, arkada\u015flar\u0131yla birlikte y\u00fczlerce mahalli banda ses kay\u0131tlar\u0131 yap\u0131l\u0131r Bedih Usta\u2019n\u0131n. Bu bantlarla \u201cm\u00fczik k\u00fclt\u00fcr\u00fc miras\u0131m\u0131z\u201d bug\u00fcnlere kadar ta\u015f\u0131narak, kutsal bir g\u00f6rev ifa edilir adeta. 1960\u2019l\u0131 y\u0131llar\u0131n nezih mek\u00e2nlar\u0131 olan Urfa kahvehanelerinde mahalli m\u00fczik kay\u0131tlar\u0131n\u0131n bantlar\u0131 zevkle dinlenirdi. 1970\u2019li y\u0131llarda, \u00e7ocukluk ve okul d\u00f6nemlerimizde kahvehanelere giremedi\u011fimiz i\u00e7in buralarda \u00e7alan bantlarda Bedih Usta\u2019n\u0131n sesini, kap\u0131da bekleyip heyecanla dinlerdik… Ama \u015fimdi \u00e7ocuklar\u0131m\u0131z, Usta\u2019n\u0131n vcd\u2019sini bilgisayarda dinliyorlar…<\/p>\n
Mekteb-i a\u015fka vard\u0131k \u015fimdi elifb\u00e2 okuruz<\/p>\n
Bayku\u015f sesini b\u00fclb\u00fcl-i \u015feyd\u00e2ya de\u011fi\u015fmem<\/p>\n
Men kimem saki olan kimdir mey \u00fc sahba nedir<\/p>\n
Kazanc\u0131 Bedih\u2019in \u201cPir\u201d ve \u201cUstal\u0131k\u201d mertebesi…<\/strong>
\u015eanl\u0131urfa\u2019da gazel okuyucular\u0131n\u0131n makam ve edebiyat bilgisine sahip olmalar\u0131 gerekmektedir. Divan edebiyat\u0131n\u0131n gazel t\u00fcr\u00fc \u015fiirleri, m\u00fczik meclislerinde \u00e7e\u015fitli makamlarda, ustal\u0131k gerektiren bir bi\u00e7imde okunmaktad\u0131r. Bu nedenle Urfa\u2019da gazel ve hoyrat okumay\u0131 hakk\u0131yla icra edemeyenlere sanat\u00e7\u0131 g\u00f6z\u00fcyle bak\u0131lmaz.<\/p>\n
End\u00e2m-\u0131 dil\u00e2r\u00e2n\u0131z\u0131 tub\u00e2y\u00e2 de\u011fi\u015fmem<\/p>\n