{"id":710,"date":"2009-04-26T17:05:16","date_gmt":"2009-04-26T14:05:16","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/"},"modified":"2009-04-26T17:05:16","modified_gmt":"2009-04-26T14:05:16","slug":"yetmis-yil-sonra-muzik-devrimi-cem-akas","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/","title":{"rendered":"Yetmi\u015f Y\u0131l Sonra ‘M\u00fczik Devrimi’ | Cem Aka\u015f"},"content":{"rendered":"

Cumhuriyet tarihinin \u015fu d\u00f6neminde “m\u00fczik devrimi” s\u00f6z\u00fcn\u00fcn tekab\u00fcl edebilece\u011fi bir ger\u00e7eklik yok gibi – devlet eliyle devrim yapman\u0131n neredeyse t\u00fcm\u00fcyle “pass\u00e9” say\u0131ld\u0131\u011f\u0131, \u00fcstelik b\u00f6yle bir devrim olacaksa da bunun k\u00fclt\u00fcrel bir alanda, hele m\u00fczik gibi soyut bir alanda yap\u0131lmas\u0131n\u0131n iyice anla\u015f\u0131lmaz bulundu\u011fu g\u00fcnler bunlar. B\u00f6yle olmas\u0131, yani Cumhuriyetin ilk ony\u0131llar\u0131n\u0131n toplu ve k\u00f6kl\u00fc de\u011fi\u015fim havas\u0131n\u0131n zaman i\u00e7inde tavsamas\u0131, yerini \u00e7okmerkezli bir evrim dinami\u011fine b\u0131rakmas\u0131 belki ka\u00e7\u0131n\u0131lmazd\u0131. Nesli t\u00fckenmeye y\u00fcz tutmu\u015f “devrimci kadrolar” merkezi bir mobilizasyonun topluma art\u0131k dayat\u0131lmamas\u0131n\u0131 esefle kar\u015f\u0131l\u0131yorlar ama, belki bu da ka\u00e7\u0131n\u0131lmazd\u0131. T\u00fcrk toplumsal gelene\u011finin \u00e7ok \u00f6nemli bir par\u00e7as\u0131 olan devrimcili\u011fin 1930’larda milli m\u00fczi\u011fin ve ona uygun yurtta\u015f\u0131n olu\u015fturulmas\u0131 amac\u0131na hizmet edecek \u015fekilde uygulamaya konmas\u0131n\u0131 ele alan bu k\u0131sa makale, bug\u00fcn gelinen noktan\u0131n ka\u00e7\u0131n\u0131lmazl\u0131\u011f\u0131 ne olursa olsun, nas\u0131l bir yol katedildi\u011fini an\u0131msatmak ve k\u00fclt\u00fcrel mobilizasyonun bu a\u015famada nas\u0131l olabilece\u011fi ve olamayaca\u011f\u0131 konusunda d\u00fc\u015f\u00fcnmek i\u00e7in de kaleme al\u0131nd\u0131.<\/p>\n

1934’e G\u0130DEN YOL<\/p>\n

“M\u00fczik devrimi” teriminin bizzat Atat\u00fcrk taraf\u0131ndan kullan\u0131ld\u0131\u011f\u0131n\u0131 belirterek ba\u015flamakta yarar var: yine bir g\u00fcn \u00e7evresindekilerle sohbet ederken en zor devrimin hangisi oldu\u011funu soran ve tatmin edici bir yan\u0131t alamay\u0131nca kendi sorusunu kendi yan\u0131tlayan Ba\u015f\u00f6\u011fretmen \u015f\u00f6yle demi\u015fti: “En g\u00fc\u00e7 devrim m\u00fczik devrimidir. \u00c7\u00fcnk\u00fc m\u00fczik devrimi, \u015fahsa \u00f6nce kendi i\u00e7 d\u00fcnyas\u0131n\u0131 unutturmay\u0131, sonra da yeni bir \u00e2leme y\u00f6nelmeyi gerektirir… \u00c7ok zor ama, yap\u0131lacakt\u0131r.”1 D\u00f6nemin \u00fcnl\u00fc tarih\u00e7ilerinden Emil L. Ludwig, bir s\u00f6yle\u015fi s\u0131ras\u0131nda Atat\u00fcrk’e, Bat\u0131n\u0131n tekseslilikten \u00e7okseslili\u011fe ge\u00e7ebilmek i\u00e7in 400 y\u0131l bekledi\u011fini s\u00f6yleyince karakteristik bir tepkiyle kar\u015f\u0131la\u015fm\u0131\u015ft\u0131: “Bizim o kadar beklemeye vaktimiz yoktur.”2 B\u00f6yle bir devrimin neden gerekli oldu\u011funu ve nas\u0131l yap\u0131laca\u011f\u0131n\u0131 da Atat\u00fcrk 1 Kas\u0131m 1934’teki Meclis a\u00e7\u0131l\u0131\u015f konu\u015fmas\u0131nda anlatm\u0131\u015ft\u0131:<\/p>\n

Bir ulusun yeni de\u011fi\u015fikli\u011finde \u00f6l\u00e7\u00fc, mus\u0131kide de\u011fi\u015fikli\u011fi alabilmesi, kavrayabilmesidir. Bug\u00fcn acuna dinletmeye yeltenilen mus\u0131ki bizim de\u011fildir. Onun i\u00e7in y\u00fcz a\u011fart\u0131c\u0131 de\u011ferde olmaktan \u00e7ok uzakt\u0131r. Bunu a\u00e7\u0131k\u00e7a bilmeliyiz. Ulusal, ince duygular\u0131, d\u00fc\u015f\u00fcnceleri anlatan y\u00fcksek deyi\u015fleri, s\u00f6yleyi\u015fleri toplamak, onlar\u0131 bir g\u00fcn \u00f6nce genel son mus\u0131ki kurallar\u0131na g\u00f6re i\u015flemek gerektir. Ancak bu yolda T\u00fcrk ulusal mus\u0131kisi y\u00fckselebilir, evrensel mus\u0131kide yerini alabilir.3<\/p>\n

Halk m\u00fczi\u011finin aranmas\u0131, ayn\u0131 zamanda da \u00e7a\u011fda\u015f k\u00fclt\u00fcrle i\u015flenmesi ve yeni bir \u015fekle sokulmas\u0131 fikri4 Cumhuriyetin resmi ideologu s\u0131fat\u0131n\u0131 hak eden Ziya G\u00f6kalp’e aitti ve onun hars\/medeniyet ayr\u0131m\u0131na dayan\u0131yordu – Anadolu’da, k\u00f6ylerde yayg\u0131n olan halk m\u00fczi\u011fi T\u00fcrk hars\u0131n\u0131n bir par\u00e7as\u0131yd\u0131 ve T\u00fcrklerin Arap medeniyetinin etkisi alt\u0131na girmesiyle alaturka denilen m\u00fczi\u011fe d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc; oysa \u015fimdi T\u00fcrkler yeni bir medeniyeti, Bat\u0131 medeniyetini kabul etti\u011finden, m\u00fcziklerini de bu medeniyetin kurallar\u0131yla i\u015fleyeceklerdi: “O halde milli mus\u0131kimiz memleketimizdeki halk mus\u0131kisiyle Garp mus\u0131kisinin imtizac\u0131ndan do\u011facakt\u0131r. Halk mus\u0131kisi bize bir\u00e7ok melodiler vermi\u015ftir. Bunlar\u0131 toplar ve Garp mus\u0131kisi usul\u00fcnce armonize edersek hem milli hem de Avrupai bir mus\u0131kiye malik oluruz.”5 G\u00f6kalp’ten \u00f6nce Necip As\u0131m Yaz\u0131ks\u0131z’\u0131n da benzer fakat daha kestirme bir sentez anlay\u0131\u015f\u0131n\u0131 savundu\u011fu g\u00f6r\u00fcl\u00fcr: Ona g\u00f6re, halk m\u00fczi\u011fi derlemeleri yap\u0131ld\u0131ktan sonra, ulusal m\u00fczik yaratmada ba\u015far\u0131l\u0131 olmu\u015f Macarlardan yararlan\u0131lmal\u0131d\u0131r: “Milli bir mus\u0131ki v\u00fccude getirmek i\u00e7in Macaristan\u2019dan bir mus\u0131ki \u00e2limi getirmek, bu k\u00fclliyat\u0131 ona tevdi etmek gerekir.”6<\/p>\n

Milli bir m\u00fczik yaratmak ve bunu Bat\u0131 m\u00fczi\u011fi kal\u0131plar\u0131yla yapmak konusu, 1934 Kas\u0131m\u0131ndan itibaren Cumhuriyet k\u00fclt\u00fcr hayat\u0131n\u0131n \u00f6nemli bir g\u00fcndem maddesi haline geldi, ama bunun i\u015faretleri on y\u0131ldan beri g\u00f6r\u00fclmekteydi. Mustafa Kemal 1925’teki bir s\u00f6ylevinde, Montesquieu\u2019n\u00fcn “Bir ulusun mus\u0131kideki durumuna \u00f6nem verilmezse, o ulusu ilerletmeye olanak yoktur” s\u00f6z\u00fcn\u00fc do\u011fru buldu\u011funu belirtmi\u015fti. Ayn\u0131 y\u0131l Anadolu’da halk m\u00fczi\u011fi derleme gezileri ba\u015flad\u0131, yetenek s\u0131nav\u0131 a\u00e7\u0131larak devlet taraf\u0131ndan yurtd\u0131\u015f\u0131na sanat\u00e7\u0131 ve \u00f6\u011fretmen olarak yeti\u015ftirilmek \u00fczere \u00f6\u011frenci g\u00f6nderildi. 1926 y\u0131l\u0131nda Dar\u00fclelhan’\u0131n ad\u0131 \u0130stanbul Belediye Konservatuvar\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc ve “Do\u011fu mus\u0131kisi” b\u00f6l\u00fcm\u00fc kapat\u0131ld\u0131. Bu y\u0131llarda bir\u00e7ok kent ve kasabada bando ve korolar kuruldu, 1932’den sonra bunlara halkevleri korolar\u0131 ve mandolin tak\u0131mlar\u0131 eklendi. 1928 y\u0131l\u0131nda Mustafa Kemal sanatsal g\u00fcndemi belirleyici bir hamle yaparak “alaturka\/alafranga m\u00fczik” tart\u0131\u015fmas\u0131n\u0131 ba\u015flatt\u0131. 11 A\u011fustos 1928 gecesi Sarayburnu gazinosunda bir konser d\u00fczenlenmi\u015f, Klasik Bat\u0131 m\u00fczi\u011fi \u00e7alan bir orkestra, M\u0131s\u0131rl\u0131 sanat\u00e7i M\u00fcniret\u00fcl Mehdiye ve amat\u00f6rlerden olu\u015fan bir T\u00fcrk mus\u0131kisi heyeti sahneye (ve Mustafa Kemal’in huzuruna) \u00e7\u0131km\u0131\u015ft\u0131. Son grubun performans\u0131n\u0131n olduk\u00e7a k\u00f6t\u00fc oldu\u011fu ve Pa\u015fa’y\u0131 hiddetlendirdi\u011fi anla\u015f\u0131l\u0131yor.7 Bunun \u00fczerine, 1928 Sarayburnu S\u00f6ylevi olarak literat\u00fcre ge\u00e7en konu\u015fmas\u0131n\u0131 yapan Mustafa Kemal \u015f\u00f6yle dedi:<\/p>\n

Benim T\u00fcrk hissiyat\u0131 \u00fczerindeki m\u00fc\u015fahedem \u015fudur ki, art\u0131k bu mus\u0131ki, bu basit mus\u0131ki T\u00fcrk’\u00fcn \u00e7ok m\u00fcnke\u015fef ruh ve hissini tatmine k\u00e2fi gelmez. \u015eimdi kar\u015f\u0131da medeni d\u00fcnyan\u0131n mus\u0131kisi de i\u015fitildi. Bu ana kadar \u015eark mus\u0131kisi denilen terenn\u00fcmler kar\u015f\u0131s\u0131nda kans\u0131z gibi g\u00f6r\u00fcnen halk derhal harekete ve faaliyete ge\u00e7ti. Hepsi oynuyorlar, \u015fen ve \u015fat\u0131rd\u0131rlar, tabiat\u0131n icabat\u0131n\u0131 yap\u0131yorlar. Bu pek tabiidir. T\u00fcrk f\u0131traten \u015fen ve \u015fat\u0131rd\u0131r.8<\/p>\n

Bu s\u00f6zler \u00fczerinde biraz durmak gerekiyor. Bu konu\u015fmadan sonra iyice alevlenen alaturka\/alafranga tart\u0131\u015fmas\u0131nda, saray, tekke ve meyhane m\u00fczi\u011fi olarak da adland\u0131r\u0131lan Klasik T\u00fcrk mus\u0131kisinin ba\u015fl\u0131ca iki sak\u0131ncas\u0131 vurgulanm\u0131\u015ft\u0131: \u00c7okseslendirmeye yatk\u0131n olmay\u0131\u015f\u0131 ve ifade yelpazesinin dar olu\u015fu.9 Ba\u015fka bir d\u00fczlemdeyse, “uyu\u015fuk Arap”\u0131n kar\u015f\u0131s\u0131na “dinamik Avrupal\u0131” konuyor ve T\u00fcrkler de bu ikincisiyle \u00f6zde\u015fle\u015ftiriliyordu. Burada, Osmanl\u0131 \u0130mparatorlu\u011fu\u2019na, \u00f6zellikle de son d\u00f6nemine ili\u015fkin kat\u0131 bir yarg\u0131 da okunabiliyor: duraklayan ve gerileyen, bunun sonucunda da s\u0131zlanmaktan, a\u011f\u0131r a\u011f\u0131r terenn\u00fcm etmekten ba\u015fka bir \u015fey yapamayan Osmanl\u0131 arketipi ciddi bir korku ve nefret nesnesidir; bir an \u00f6nce silkinip canlanmak ve harekete ge\u00e7mek gereklidir; bu da ancak ge\u00e7mi\u015fle olan k\u00f6pr\u00fclerin yak\u0131lmas\u0131yla m\u00fcmk\u00fcn olacakt\u0131r.<\/p>\n

Burada unutulmamas\u0131 gereken nokta, di\u011fer Atat\u00fcrk devrimlerinde oldu\u011fu gibi m\u00fczik devriminin k\u00f6klerinin de asl\u0131nda Cumhuriyet \u00f6ncesine gitti\u011fi. \u00d6me\u011fin mus\u0131ki ara\u015ft\u0131rmalar\u0131yla ilk kez 19. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131nda kar\u015f\u0131la\u015f\u0131yoruz – Mevlevi \u015feyhlerinden Ataullah Dede Efendi, Mehmet Celaleddin Dede Efendi ve H\u00fcseyin Fahreddin Dede Efendi, T\u00fcrk mus\u0131kisinin perdeleri, aral\u0131klar\u0131, makamlar\u0131 ve usulleri \u00fczerinde \u00e7al\u0131\u015ft\u0131. Onlardan el alan Rauf Yekta ve Suphi Ezgi, 1913’ten 1920’ye kadar Tiirk mus\u0131kisinin kuramsal sorunlar\u0131na e\u011fildi. 1916’da Bahriya Muzika Mektebi a\u00e7\u0131ld\u0131, okul bandolar\u0131 ve sivil bandolar kuruldu. Operetler yirminci y\u00fczy\u0131l\u0131n ilk y\u0131llar\u0131nda \u00e7ok reva\u00e7tayd\u0131; \u00f6zellikle Milli Osmanl\u0131 Operet Kumpanyas\u0131, Ar\u015fak Ha\u00e7aduryan’\u0131n y\u00f6netiminde Arif\u2019in Hilesi, Leblebici Horhor A\u011fa gibi oyunlarla b\u00fcy\u00fck \u00fcne kavu\u015ftu. 1918’de, librettosunu Halide Edip’in yazd\u0131\u011f\u0131, bestesini Osmanl\u0131 uyruklu Vedi Sabra’n\u0131n yapt\u0131\u011f\u0131 Kenan \u00c7obanlar\u0131 operas\u0131 sahnelendi. Bu d\u00f6nemin en \u00f6nemli ba\u015far\u0131s\u0131ysa 1917 y\u0131l\u0131nda Dar\u00fclelhan ad\u0131nda bir konservatuvar\u0131n kurulmas\u0131d\u0131r. Burada Klasik mus\u0131ki yap\u0131tlar\u0131 notaya al\u0131nmaya, Anadolu’da derleme \u00e7al\u0131\u015fmalar\u0131 yap\u0131lmaya ba\u015fland\u0131. 1926’da kapat\u0131lana dek T\u00fcrk ve Bat\u0131 m\u00fczikleri ayn\u0131 akademik ortamda \u00f6\u011fretildi ve b\u00f6ylece, k\u0131sa bir s\u00fcre i\u00e7in de olsa, kar\u015f\u0131l\u0131kl\u0131 bir etkile\u015fim m\u00fcmk\u00fcn k\u0131l\u0131nd\u0131. K\u0131sacas\u0131 Bat\u0131 m\u00fczi\u011fi T\u00fcrkiye’ye Cumhuriyetten \u00e7ok \u00f6nce geldi; Cumhuriyetten \u00f6nce alafranga ve alaturka birlikte ya\u015fayabiliyor, devlet konservatuvarlar\u0131nda yan yana \u00f6\u011fretilebiliyordu; halk t\u00fcrk\u00fclerinin derlenmesine, Klasik T\u00fcrk mus\u0131kisinin ara\u015ft\u0131r\u0131l\u0131p notaya ge\u00e7irilmesine ve kuramsal sorunlara \u00e7\u00f6z\u00fcmler aranmas\u0131na da Cumhuriyetten \u00f6nce ba\u015fland\u0131.<\/p>\n

Atat\u00fcrk devrimlerinin h\u0131z kazand\u0131\u011f\u0131 y\u0131llardaysa Osmanl\u0131 ge\u00e7mi\u015finden ve onun miras\u0131ndan kopma, bir yandan Orta Asya kokan bir “\u00f6z”e d\u00f6nme, bir yandan da Bat\u0131y\u0131 uyarlama iste\u011fi kendi eklektisizmini yarat\u0131yor, Me\u015frutiyet y\u0131llar\u0131nda g\u00f6r\u00fclen t\u00fcrden eklektik\/kozmopolit \u00e7abalar\u0131 imkans\u0131z k\u0131l\u0131yordu. Bu ko\u015fullar alt\u0131nda m\u00fczi\u011fin bir devlet politikas\u0131 konusu haline gelmesine ve k\u00fclt\u00fcrel sorulara ideolojik yan\u0131tlar aranmas\u0131na \u015fa\u015fmamak gerek. Klasik T\u00fcrk mus\u0131kisinin Bat\u0131 \u00e7alg\u0131lar\u0131yla nas\u0131l \u00e7al\u0131naca\u011f\u0131 ya da nas\u0131l notaya ge\u00e7irilece\u011fi, T\u00fcrk \u00e7alg\u0131lar\u0131n\u0131n nas\u0131l standardize edilece\u011fi gibi asl\u0131nda teknik olan ve \u00f6rne\u011fin konservatuvarlar\u0131n “yetki alan\u0131”na giden bir konuda siyaset adamlar\u0131 ve toplum kuramc\u0131lar\u0131 s\u00f6z sahibiydi. Kald\u0131 ki T\u00fcrk hars\u0131n\u0131n saf \u00fcr\u00fcn\u00fc oldu\u011fu ileri s\u00fcr\u00fclen halk m\u00fczi\u011finin teknik altyap\u0131 sorunlar\u0131 (nota, \u00e7alg\u0131, aral\u0131k vs) \u00e7ok daha karma\u015f\u0131kt\u0131 ve Ziya G\u00f6kalp’in ve Atat\u00fcrk’\u00fcn sand\u0131\u011f\u0131n\u0131n aksine, Rumeli t\u00fcrk\u00fcs\u00fcnden senfoniye giden yol hi\u00e7 de d\u00fcz ve dikensiz de\u011fildi.<\/p>\n

1934-36: RAPORLAR, UZMANLAR, \u0130\u015eG\u00dcZARLAR<\/p>\n

Atat\u00fcrk’\u00fcn Meclisteki konu\u015fmas\u0131n\u0131n ertesi g\u00fcn\u00fc, 2 Kas\u0131m 1934’te Dahiliye Vekili \u015e\u00fckr\u00fc Kaya bir genelge yay\u0131mlad\u0131 ve radyo programlar\u0131nda “alaturka mus\u0131kinin tamamen kald\u0131r\u0131lmas\u0131 ve yaln\u0131z Garp tekni\u011fiyle bestelenmi\u015f musiki par\u00e7alar\u0131m\u0131z\u0131n Garp tekni\u011fini bilen sanatkarlar taraf\u0131ndan \u00e7al\u0131nmas\u0131” uygulamaya kondu.10 Bu yasak yaln\u0131zca radyoyla s\u0131n\u0131rl\u0131 kalmad\u0131 ve yurt \u00e7ap\u0131nda bir yasak olarak alg\u0131lanarak yayg\u0131n tepkilere yol a\u00e7t\u0131. Max Reinhard’\u0131n raporu, ger\u00e7ekle\u015fen bir kehanet niteli\u011fi kazanm\u0131\u015ft\u0131; Reinhard \u0130stanbul Belediyesi taraf\u0131ndan \u0131smarlanan raporunda Milli T\u00fcrk Operas\u0131n\u0131 kurman\u0131n yan\u0131 s\u0131ra, opera izleyicisini haz\u0131rlaman\u0131n da gerekli oldu\u011funu s\u00f6yl\u00fcyordu:<\/p>\n

Kemal Pa\u015fa bir emirle radyolardaki eski mus\u0131ki saatlerini azaltabilir, hatta tamamen kald\u0131rabilir. Onun yerine Bat\u0131 mus\u0131kisini koyabilir. Her kasaba meydan\u0131nda Bat\u0131 mus\u0131kisi konserleri d\u00fczenletebilir. Fakat bu m\u00fcsbet bir i\u015f olmaz. Halk gizli bir mukavemetle kapal\u0131 perdeli odas\u0131nda, yak\u0131n \u015fark radyolar\u0131n\u0131 dinler. Bu direkt de\u011fi\u015fikli\u011fi de antipatik kar\u015f\u0131lar ve bir g\u00fcn hi\u00e7 umulmayan bir anda aks\u00fclamel ba\u015flar… Yap\u0131lan emekler bir anda y\u0131k\u0131l\u0131r gider. Bu suretle T\u00fcrk operas\u0131n\u0131n oynayaca\u011f\u0131 g\u00fczel temsiller snobismin tesiri ile, onu seyreder gibi g\u00f6r\u00fcnen ge\u00e7ici ve mahdut bir kalabal\u0131ktan ba\u015fka m\u00fc\u015fteri bulamamak tehlikesine maruz kal\u0131r.11<\/p>\n

Ger\u00e7ekten de Kahire radyosu o g\u00fcnlerde \u00e7ok pop\u00fcler hale gelmi\u015fti. 1935’te \u00fcnl\u00fc orkestra \u015fefi Praetorius’un Riyaset\u00fccumhur Orkestras\u0131n\u0131n ba\u015f\u0131na ge\u00e7mesinin ard\u0131ndan, radyo sat\u0131n almaya gidenlerin, “\u0130\u00e7inde Praetorius olmas\u0131n ha!” dedi\u011fi anlat\u0131l\u0131yor. Bu yasak iki y\u0131l s\u00fcrd\u00fc. 5 Eyl\u00fcl 1936’da, o zamana kadar T\u00fcrk Telsiz Telefon A.\u015e. taraf\u0131ndan i\u015fletilen Istanbul ve Ankara vericileri, on y\u0131ll\u0131k s\u00f6zle\u015fmenin bitmesiyle devlete ge\u00e7ti; Ankara Radyosu m\u00fcd\u00fcrl\u00fc\u011f\u00fcne Veli Kan\u0131k akand\u0131 ve 6 Eyl\u00fclden itibaren radyodan \u015fark\u0131 ve oyun havalar\u0131 yeniden yay\u0131nlanmaya ba\u015fland\u0131; fas\u0131l yay\u0131n\u0131na ise daha sonra geri d\u00f6n\u00fcld\u00fc.<\/p>\n

Yasa\u011f\u0131n Atat\u00fcrk’\u00fcn fikri olmad\u0131\u011f\u0131 ve bundan pi\u015fmanl\u0131k duydu\u011fu yolunda \u00e7e\u015fitli yorumlar var. \u00d6rne\u011fin Vasfi R\u0131za Zobu, yasa\u011f\u0131n h\u00e2l\u00e2 ge\u00e7erli oldu\u011fu s\u0131rada bir ak\u015fam Pa\u015fa’n\u0131n sofras\u0131ndayken, onun iste\u011fi \u00fczerine alaturka bir par\u00e7a s\u00f6yler ve bitirince, masadakilerle birlikte tedirginlik i\u00e7inde neler olaca\u011f\u0131n\u0131 beklemeye ba\u015flar. \u015e\u00f6yle der Atat\u00fcrk:<\/p>\n

Ne yaz\u0131k ki benim s\u00f6zlerimi yanl\u0131\u015f anlad\u0131lar… Ben demek istedim ki, bizim seve seve dinledi\u011fimiz T\u00fcrk bestelerini onlara (Bat\u0131l\u0131lara) da dinletmek \u00e7aresi bulunsun… “T\u00fcrk’\u00fcn na\u011fmelerini kald\u0131r\u0131p atal\u0131m da sadece Bat\u0131 milletlerinin haz\u0131rdan mus\u0131kisini al\u0131p kendimize maledelim, yaln\u0131z onlar\u0131 dinleyelim” demedim. Yanl\u0131\u015f anlad\u0131lar s\u00f6zlerimi, ortal\u0131\u011f\u0131 \u00f6yle bir velveleye verdiler ki, ben de bir daha laf\u0131n\u0131 edemez oldum.12<\/p>\n

Bu anlat\u0131m, s\u00f6z konusu yasak hakk\u0131ndaki yorumlar\u0131n \u00e7o\u011fuyla uyu\u015fuyor. \u015e\u00fckr\u00fc Kaya’n\u0131n Vedat Nedim T\u00f6r’\u00fcn de k\u0131\u015fk\u0131rtmas\u0131yla “ulusal mus\u0131ki meselesi”nin \u00f6nderli\u011fine soyundu\u011fu ve i\u015fg\u00fczarl\u0131k ederek b\u00f6yle bir yasak koydu\u011fu, geri ad\u0131m atmaktan ho\u015flanmayan Atat\u00fcrk’\u00fcn de o g\u00fcnlerin devrimci ortam\u0131nda bu i\u015fe ses \u00e7\u0131kartmad\u0131\u011f\u0131 konusunda “alaturkac\u0131lar” aras\u0131nda hat\u0131r\u0131 say\u0131l\u0131r bir g\u00f6r\u00fc\u015f birli\u011fi var; “alafrangac\u0131lar” ise 1934’teki yasa\u011f\u0131 alk\u0131\u015flarken, yasa\u011f\u0131n 1936’da kald\u0131r\u0131lmas\u0131 hakk\u0131nda genelde sessiz kal\u0131yor. \u0130\u015fg\u00fczarl\u0131k olsun olmas\u0131n, bu yasak di\u011fer Atat\u00fcrk devrimlerinin uygulan\u0131\u015f bi\u00e7imiyle hi\u00e7 de \u00e7eli\u015fik g\u00f6z\u00fckm\u00fcyor.<\/p>\n

1934’e geri d\u00f6necek olursak: 24 Kas\u0131mda Milli E\u011fitim Bakan\u0131 Abidin Ozmen ba\u015fkanl\u0131\u011f\u0131nda bir kongre topland\u0131 – \u00f6nde gelen sekiz T\u00fcrk m\u00fczik\u00e7isi, “T\u00fcrkiye Devlet Mus\u0131ki ve Tiyatro Akademisinin Ana \u00c7izgileri” ba\u015fl\u0131kl\u0131 bir rapor haz\u0131rlad\u0131. Bu raporda Ankara Devlet Konservatuvar\u0131n\u0131n kurulmas\u0131 ve Bat\u0131dan uzmanlar getirilmesi gerekti\u011fi vurguland\u0131. Nitekim bu raporun ard\u0131ndan Joseph Marx, Paul Hindemith, Carl Ebert ve Bela Bartok gibi, d\u00fcnya m\u00fczi\u011finin b\u00fcy\u00fck isimlerinden raporlar al\u0131nd\u0131; bu say\u0131lanlardan son \u00fc\u00e7\u00fc T\u00fcrkiye’ye geldi, incelemeler yapt\u0131 ve idari g\u00f6revler \u00fcstlendi.<\/p>\n

Milli m\u00fczi\u011fin ortaya \u00e7\u0131kart\u0131lmas\u0131 i\u015finin “ehil eller”e b\u0131rak\u0131lmas\u0131 gereklili\u011fi, Aral\u0131k 1934’te ilgin\u00e7 bir vesileyle anla\u015f\u0131ld\u0131. Ankara bu ayda hem \u0130ran \u015fah\u0131n\u0131n ziyaretine, hem de Atat\u00fcrk’\u00fcn \u015fehre geli\u015finin y\u0131ld\u00f6n\u00fcm\u00fc kutlamalar\u0131na sahne olacakt\u0131 ve her ikisi i\u00e7in de, gen\u00e7 T\u00fcrk bestecilerine \u00e7ok k\u0131sa s\u00fcrede operalar bestelemeleri s\u00f6ylenmi\u015fti. T\u00fcrk ve \u0130ran uluslar\u0131n\u0131n karde\u015fli\u011fini anlatan \u00d6zsoy destan\u0131, Atat\u00fcrk’\u00fcn iste\u011fi \u00fczerine Adrian Saygun taraf\u0131ndan bestelendi. Ne var ki Osman Zeki \u00dcng\u00f6r, Riyaset\u00fccumhur Orkestras\u0131n\u0131 vermeyi reddetti; bunun \u00fczerine eser karma bir orkestra tarafindan \u00e7al\u0131nd\u0131. Osman Zeki Bey orkestran\u0131n ba\u015f\u0131nda daha fazla kalamad\u0131 elbette; onun yerine Adnan Saygun ge\u00e7ti. Adnan Bey ve Necil Kaz\u0131m Akses, 27 Aral\u0131k kutlamalar\u0131 i\u00e7in birer perdelik opera sipari\u015fi verilen \u00fc\u00e7 besteciden ikisiydi; \u00fc\u00e7\u00fcnc\u00fc besteci Ulvi Cemal Erkin ise bu \u015ferefi reddetmi\u015fti. D\u00f6nemin Halkevleri Ba\u015fkan\u0131n\u0131n “Otuz ki\u015fiyi ast\u0131rd\u0131m, onu da ast\u0131r\u0131r\u0131m,” dedi\u011fi anlat\u0131l\u0131yor. Atat\u00fcrk, Akses’in Bay\u00f6nder ve Saygun’unTatbebek operalar\u0131n\u0131 be\u011fenmedi ve \u00fc\u00e7 g\u00fcn sonra Burhan Belge’ye Ulus gazetesinde g\u00f6r\u00fc\u015flerini yazd\u0131rtt\u0131: “Bu i\u015fin gereksiz ve amat\u00f6rce oldu\u011funu, gen\u00e7lerden birtak\u0131m ilerici aray\u0131\u015flar de\u011fil, T\u00fcrk ruhuna seslenecek yeni bir ulusal k\u00fc\u011f beklendi\u011fini, yap\u0131lan denemeyle bu konuda yararl\u0131 olabilecek bi\u00e7imde yeti\u015fmediklerinin anla\u015f\u0131ld\u0131\u011f\u0131n\u0131, k\u00fc\u011f devriminin zaman istedi\u011fini, b\u00f6yle birtak\u0131m g\u00f6steri\u015flerle de\u011fil, sab\u0131rl\u0131 ve s\u00fcrekli \u00e7al\u0131\u015fmayla ba\u015far\u0131ya ula\u015fabilece\u011fini”13 anlatan yaz\u0131dan sonra Adnan Saygun Ankara’dan ayr\u0131larak \u0130stanbul’a gitti ve Atat\u00fcrk \u00f6lene kadar da geri d\u00f6nmedi. Yaz\u0131n\u0131n en dikkat \u00e7eken \u00f6zelli\u011fi, Sovyet Devrimi ertesinde “toplumsal ger\u00e7ek\u00e7ilik”in Parti taraf\u0131ndan sanat\u00e7\u0131lara dayat\u0131lmas\u0131n\u0131 an\u0131\u015ft\u0131ran tonu, m\u00fczi\u011fi bireysel anlat\u0131m arac\u0131 olarak de\u011fil, toplumsal i\u015flevi olan bir ara\u00e7 olarak tan\u0131mlamas\u0131 elbette.<\/p>\n

25-30 ya\u015flar\u0131nda, Avrupa’da m\u00fczik e\u011fitimi g\u00f6rm\u00fc\u015f deneyimsiz gen\u00e7lerle m\u00fczik devrimi yap\u0131lamayaca\u011f\u0131\u0131n anla\u015f\u0131lmas\u0131 \u00fczerine 1935 y\u0131l\u0131nda Avrupal\u0131 bir uzman aray\u0131\u015f\u0131na girildi. Bu alanda Almanya ve Sovyetler Birli\u011fi aras\u0131nda bir rekabet ya\u015fand\u0131 ve Ruslar, Ankara, \u0130stanbul ve \u0130zmir’i kapsayan ve bir ay s\u00fcren ciddi bir konser\/g\u00f6steri \u00e7\u0131kartmas\u0131 yapt\u0131ysa da, sonunda Alman ekol\u00fc ye\u011flendi. Berlin’de talebe m\u00fcfetti\u015fi olan Cevat Dursuno\u011flu’na bir talimat yolland\u0131 ve konservatuvar kuracak bir uzman bulmas\u0131 istendi. Dursuno\u011flu k\u0131sa bir ara\u015ft\u0131rmadan sonra, d\u00f6nemin en \u00fcnl\u00fc orkestra \u015feflerinden Wilhelm Furtwangler’le temas kurmaya \u00e7al\u0131\u015ft\u0131, ancak \u015fef randevu bile veremeyecek kadar me\u015fguld\u00fc. En b\u00fcy\u00fck hobisinin arkeoloji oldu\u011funu \u00f6\u011frenen Dursuno\u011flu, T\u00fcrkiye’deki kaz\u0131lardan birka\u00e7 nadide par\u00e7a getirtip bunlar\u0131 \u015fefe arma\u011fan etmek istedi\u011fini s\u00f6yleyince, Furtwangler daha fazla kar\u015f\u0131 koyamad\u0131. T\u00fcrkiye’ye gelmesi, uluslararas\u0131 angajmanlar\u0131 nedeniyle olanaks\u0131zd\u0131, ama \u00f6nerebilece\u011fi bir isim vard\u0131: Paul Hindemith. Gobbels’in “k\u00fclt\u00fcr bol\u015fevi\u011fi” diyerek afaroz etti\u011fi Hindemith, Karaorman’da bir k\u00f6yde m\u00fcnzevi bir ya\u015fam s\u00fcr\u00fcyordu. Dursuno\u011flu uzun ara\u015ft\u0131rmalar sonunda \u00fcnl\u00fc besteciyi buldu; T\u00fcrk devleti ad\u0131na yap\u0131lan teklifi Hindemith sevinerek kabul etti ve ilk kez 5 Nisan 1935’te Ankara\u2019ya geldi, May\u0131s ortas\u0131na kadar kald\u0131, sonra \u00e7e\u015fitli aral\u0131k ve s\u00fcrelerle \u00fc\u00e7 kez daha gelip gitti. T\u00fcrkiye’de bulundu\u011fu zaman zarf\u0131nda olduk\u00e7a verimli \u00e7al\u0131\u015fan Hindemith, d\u00f6rt ana rapor haz\u0131rlad\u0131: ilk raporda Ankara Devlet Konservatuvar\u0131n\u0131n nas\u0131l kurulmas\u0131 gerekti\u011fini, ikincisinde Riyaset\u00fccumhur Orkestras\u0131n\u0131n nas\u0131l \u0131slah edilece\u011fini, \u00fc\u00e7\u00fcnc\u00fcs\u00fcnde orkestra enstr\u00fcmanlar\u0131n\u0131n yenilenmesinin zorunlulu\u011funu, d\u00f6rd\u00fcnc\u00fcs\u00fcndeyse m\u00fczik sanat\u0131n\u0131n yurt sath\u0131nda nas\u0131l yayg\u0131nla\u015ft\u0131r\u0131laca\u011f\u0131n\u0131 anlatt\u0131. Mus\u0131ki ya\u015fam\u0131na gerekli olan k\u00fct\u00fcphaneci, derlemeci ve ara\u015ft\u0131rmac\u0131lar\u0131n yeti\u015ftirilmesi, mus\u0131ki ara\u00e7 ve gere\u00e7lerinin g\u00fcmr\u00fck i\u015flemlerinin kolayla\u015ft\u0131r\u0131lmas\u0131 gerekti\u011fini vurgulayan Hindemith, \u00e7oksesli m\u00fczi\u011fin halka benimsetilmesi i\u00e7in \u015fu \u00f6nerileri yap\u0131yordu:<\/p>\n

– \u0130steyen herkesin kat\u0131labilece\u011fi kurs ve okullar a\u00e7\u0131lmal\u0131,
– Yerel korolar, bandolar, orkestralar kurulmal\u0131,
– “Halk musikisi” kitab\u0131 haz\u0131rlanmal\u0131,
– M\u00fczik\u00e7iler k\u00f6ylere gitmeli, aylarca kalarak “m\u00fczi\u011fi ya\u015famal\u0131”, ancak bundan sonra kendi bestelerinde bu m\u00fczikten yararlanmal\u0131.14<\/p>\n

Milli \u00e7oksesli m\u00fczik i\u00e7in Klasik T\u00fcrk mus\u0131kisi yerine T\u00fcrk halk m\u00fczi\u011fini temel olarak almay\u0131 \u00f6neren ve bunun i\u00e7in bilimsel anlamda alan ara\u015ft\u0131rmas\u0131 yap\u0131lmas\u0131 gerekti\u011fini s\u00f6yleyen Hindemith’ten sonra, 5 Kas\u0131m 1936’da gelen ve toplam \u00fc\u00e7 hafta kalan Bela Bartok, kar\u015f\u0131s\u0131nda s\u00f6ylediklerini can kula\u011f\u0131yla dinleyen bir kitle buldu ve beklentileri fazlas\u0131yla kar\u015f\u0131lad\u0131. Temelde Hindemith’le ayn\u0131 g\u00f6r\u00fc\u015f\u00fc payla\u015f\u0131yordu; \u00fcstelik T\u00fcrk m\u00fczi\u011fi i\u00e7in \u00f6nerdi\u011fi \u015feyleri kendisi Macar m\u00fczi\u011fi i\u00e7in yapm\u0131\u015ft\u0131. Macaristan’da da \u015fehirlerde \u00e7ingenelerce \u00e7al\u0131nan bir sanat m\u00fczi\u011fi vard\u0131 ve bunun ger\u00e7ek Macar m\u00fczi\u011fi oldu\u011fu kan\u0131s\u0131 yayg\u0131nd\u0131 – oysa Bartok, k\u00f6ylerde yapt\u0131\u011f\u0131 geni\u015f ara\u015ft\u0131rmalar sonucunda durumun hi\u00e7 de b\u00f6yle olmad\u0131\u011f\u0131 sonucuna varm\u0131\u015f, halk\u0131n ya\u015fatt\u0131\u011f\u0131 m\u00fczi\u011fi ortaya \u00e7\u0131kartm\u0131\u015ft\u0131.l5 T\u00fcrkiye’de de benzer bir “mus\u0131ki vaziyeti” g\u00f6r\u00fcyordu Bartok; dahas\u0131, Macar m\u00fczi\u011finde kar\u015f\u0131la\u015ft\u0131\u011f\u0131 baz\u0131 \u00f6zelliklerin T\u00fcrk m\u00fczi\u011finden kaynakland\u0131\u011f\u0131n\u0131, iki<\/p>\n

ulusun m\u00fczikleri aras\u0131ndaki ba\u011flar\u0131n binlerce y\u0131l \u00f6ncesine gitti\u011fini d\u00fc\u015f\u00fcn\u00fcyordu – T\u00fcrk tarih tezi i\u00e7in beklenmedik bir destek gelmi\u015fti! Hindemith gibi Bartok da “k\u00f6ylerin… mus\u0131kisini oralarda uzun zaman ya\u015famak suretile his” etmenin16 ve “etnografi ve folklor ilimlerinin”17 \u00f6nemini vurgulad\u0131. “Fikrimce; ancak yerinde sahiplerinin yan\u0131ba\u015f\u0131nda ya\u015fanmad\u0131k\u00e7a k\u00f6yl\u00fc mus\u0131kisinin bir mus\u0131kici \u00fczerine tam manasile tesir etmesi m\u00fcmk\u00fcn de\u011fildir.”18<\/p>\n

Bartok, Adnan Saygun ile birlikte Adana’ya giderek y\u00f6rede m\u00fczik ara\u015ft\u0131rmalar\u0131nda bulundu, ilkel teknolojiye ra\u011fmen kay\u0131tlar yapt\u0131 ve kayda de\u011fer bir ar\u015fiv olu\u015fturdu; Macaristan’a d\u00f6nd\u00fckten sonra da geride Adnan Saygun\u2019u kendi milli m\u00fczik anlay\u0131\u015f\u0131n\u0131n temsilcisi olarak b\u0131rakt\u0131. \u00dclk\u00fc dergisinin A\u011fustos 1936 tarihli say\u0131s\u0131nda “T\u00fcrk m\u00fczi\u011finin inki\u015faf yolu”nu a\u00e7\u0131klayan Saygun, Hindemith ve Bartok’un \u00f6\u011frettiklerinin bir sentezine ula\u015fma \u00e7abas\u0131nda g\u00f6r\u00fcn\u00fcyor – bir yandan halk korolar\u0131 ve bandolar\u0131n\u0131n kurulmas\u0131n\u0131n ne kadar \u00f6nemli oldu\u011funu ve halkevlerinin bu konudaki katk\u0131lar\u0131n\u0131 \u015f\u00fckranla kar\u015f\u0131lad\u0131\u011f\u0131n\u0131 belirtiyor, \u00f6te yandan T\u00fcrk m\u00fczi\u011finin \u00f6zelliklerinin korunmas\u0131na b\u00fcy\u00fck \u00f6zen g\u00f6sterilmesi gerekti\u011fini s\u00f6yl\u00fcyor.19<\/p>\n

DEVR\u0130M G\u00dcNLER\u0130NDE M\u00dcZ\u0130K TARTI\u015eMALARI<\/p>\n

Bu noktada, tart\u0131\u015fman\u0131n \u00f6z\u00fcnde ne oldu\u011funu ve zaman i\u00e7inde nas\u0131l bir de\u011fi\u015fim g\u00f6sterdi\u011fini biraz daha a\u00e7mak gerekiyor. M\u00fczik devriminin \u00e7\u0131k\u0131\u015f noktas\u0131, \u015eark m\u00fczi\u011fi de denilen, saraya, meyhaneye ve tekkeye ait oldu\u011fu ileri s\u00fcr\u00fclen Klasik T\u00fcrk mus\u0131kisinin safd\u0131\u015f\u0131 b\u0131rak\u0131lmas\u0131, yasaklanmas\u0131, hatta ink\u00e2r edilmesi, buna kar\u015f\u0131n halk m\u00fczi\u011finin \u00f6ne \u00e7\u0131kar\u0131l\u0131p Bat\u0131 teknikleriyle i\u015flenerek Klasik Bat\u0131 m\u00fczi\u011fi kal\u0131plar\u0131 ve yap\u0131lar\u0131 i\u00e7inde \u00fcr\u00fcnler verilmesini sa\u011flamakt\u0131. Bu do\u011frultuda bir yozla\u015fm\u0131\u015fl\u0131k\/safl\u0131k ikili\u011fi kolayca kuruldu ve bu eksene dayanan s\u00f6ylem kolayca hakim k\u0131l\u0131nd\u0131: y\u00fczy\u0131llar\u0131n k\u00f6hne saray m\u00fczi\u011fi ve onun dura\u011fanla\u015ft\u0131r\u0131c\u0131 etkisi terk edilmeli, saf kalmay\u0131 ba\u015farm\u0131\u015f (ama ayn\u0131 y\u00fczy\u0131llar boyunca nas\u0131l bir de\u011fi\u015fim ge\u00e7irdi\u011fi hi\u00e7 sorgulanmayan) halk m\u00fczi\u011finin T\u00fcrk \u0131rk\u0131n\u0131n “f\u0131triyat”\u0131na denk d\u00fc\u015fen canl\u0131l\u0131\u011f\u0131na sar\u0131l\u0131nmal\u0131yd\u0131.<\/p>\n

Ne var ki pratikte durum bu kadar kolay de\u011fildi. Halk m\u00fczi\u011finin aral\u0131k yap\u0131s\u0131 en az Klasik T\u00fcrk mus\u0131kisininki kadar karma\u015f\u0131kt\u0131; her iki m\u00fczi\u011fin \u00e7alg\u0131lar\u0131 normalize olmam\u0131\u015ft\u0131, yani iki ney ve iki ba\u011flama birbirine uymuyordu. Dahas\u0131 her iki m\u00fczi\u011fin \u00f6nemli bir b\u00f6l\u00fcm\u00fcn\u00fc Bat\u0131 \u00e7alg\u0131lar\u0131yla \u00e7almak olanaks\u0131zd\u0131. Tekseslili\u011fin evrensel olmad\u0131\u011f\u0131 ve \u00e7okseslili\u011fin \u00e7a\u011fda\u015fl\u0131k i\u00e7in bir \u00f6nko\u015ful oldu\u011funu s\u00f6yleyenler, her iki m\u00fczi\u011fin armonize edilmesinin e\u015f derecede zor oldu\u011funu g\u00f6rmezden geliyordu ama, en az\u0131ndan Adnan Saygun, Atat\u00fcrk’\u00fcn kafas\u0131ndaki projenin olanaks\u0131zl\u0131\u011f\u0131n\u0131, Pa\u015fa’n\u0131n ad\u0131n\u0131 vermeden kesin bir dille ortaya koymu\u015ftu: “Garpl\u0131lar\u0131n bu \u00e7okses tarz\u0131n\u0131 al\u0131p bizim t\u00fcrk\u00fclerimize tatbik etmek imk\u00e2ns\u0131zd\u0131r… bir alman veya italyan t\u00fcrk\u00fcs\u00fc ile bizim t\u00fcrk\u00fclerimiz aras\u0131nda bir yak\u0131nl\u0131k bulmak kabil de\u011fildir. B\u00f6yle olunca onlar\u0131n kendi b\u00fcnyelerinden \u00e7\u0131karm\u0131\u015f olduklar\u0131 bir armonileme sistemini t\u00fcrk\u00fclerimize tatbik etmek abesle u\u011fra\u015fmak olur… T\u00fcrk\u00fclerimiz, ancak kendi b\u00fcnyelerinden \u00e7\u0131kacak bir armoni ile hususiyetlerini kaybetmezler.”20 H\u00fcseyin Saadettin Arel, ayn\u0131 \u015feyin Klasik T\u00fcrk mus\u0131kisi i\u00e7in de ge\u00e7erli oldu\u011funu s\u00f6yl\u00fcyor, Salih Murat Uzdilek ve Kemal \u0130lerici ile birlikte, bu m\u00fczi\u011fin aral\u0131klar\u0131n\u0131 saptamak ve buna uygun bir armoni kuram\u0131 geli\u015ftirmek i\u00e7in \u00e7al\u0131\u015f\u0131yordu.21<\/p>\n

Bu aray\u0131\u015flar\u0131n olumlu bir sonu\u00e7 verece\u011finden ku\u015fku duyanlar zaman i\u00e7inde artt\u0131; Bat\u0131da m\u00fczik e\u011fitimi g\u00f6rm\u00fc\u015f yetenekli insanlar\u0131n T\u00fcrk m\u00fczi\u011finden yararlanmak istediklerinde kullanabilecekleri kuramsal altyap\u0131 \u00e7ok s\u0131n\u0131rl\u0131yd\u0131 ve ko\u015fullar el yordam\u0131yla ilerlemeyi gerektiriyordu. T\u00fcrk m\u00fczi\u011fi ve Bat\u0131 m\u00fczi\u011finin ayn\u0131 akademik yap\u0131 i\u00e7inde \u00e7al\u0131\u015f\u0131lamamas\u0131ndan do\u011fan bir t\u0131kan\u0131kl\u0131k s\u00f6z konusuydu. D\u00f6nemin devrimci acelecili\u011fi ge\u00e7tikten sonra Adnan Saygun \u015f\u00f6yle diyecekti: “Ben yazmak ihtiyac\u0131nda olan bir insan\u0131m. Benim i\u00e7in makam denilen \u015fey bir renktir sadece… serbest\u00e7e kullan\u0131r\u0131m, b\u00f6ylelikle b\u00fct\u00fcn \u00e7alg\u0131lar, piyano, orkestra elimin alt\u0131na gelir… Istedi\u011fini istedi\u011fin teknikle yazacaks\u0131n. Istersen eski perde sistemine g\u00f6re yaz. Sonu\u00e7ta evrensel \u00e7izgiye ula\u015fabiliyor musun, insanl\u0131\u011fa seslenebiliyor musun?”22 Saygun, kendi \u00e7al\u0131\u015fmalar\u0131nda yaln\u0131z halk m\u00fczi\u011finden de\u011fil, Klasik T\u00fcrk mus\u0131kisinden de yararland\u0131 ve sanat\u00e7\u0131n\u0131n bireysel aray\u0131\u015flar\u0131n\u0131n \u00f6nceli\u011fini vurgulad\u0131.23 Necil Kaz\u0131m Akses de \u00fcnl\u00fc \u0130ngiliz m\u00fczik\u00e7isi Sir William Walton ile 1948 y\u0131l\u0131nda onuruna verilen bir kokteylde kar\u015f\u0131la\u015f\u0131nca, halk m\u00fczi\u011findeki \u00e7okseslendirme \u00e7al\u0131\u015fmalar\u0131n\u0131 anlatt\u0131\u011f\u0131n\u0131, Walton\u2019\u0131n da “Ben size samimi bir\u015fey s\u00f6yleyeyim mi? Bu \u015funa benzer: kul\u00fcbeleri toplay\u0131p saray yapmaya. \u00d6yle saray olmaz,” dedi\u011fini anlat\u0131r ve “Bu bir hakikattir. Halk t\u00fcrk\u00fcleri \u00f6ylece kalmal\u0131. Onlar\u0131 toplay\u0131p da b\u00fcy\u00fck bir senfoni yazamazs\u0131n\u0131z,” der.24 Cemal Re\u015fit Rey ise “Bat\u0131 m\u00fczi\u011fi” ile “T\u00fcrk m\u00fczi\u011fi”nin kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131na bile imkan olmad\u0131\u011f\u0131n\u0131, birincisinin bestecileri, icrac\u0131lar\u0131, orkestralar\u0131, \u00e7alg\u0131lar\u0131, m\u00fczikologlar\u0131, konservatuvarlar\u0131 ile kolayl\u0131kla a\u011f\u0131r bast\u0131\u011f\u0131n\u0131 savunmu\u015ftur.25<\/p>\n

G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi 1920’lerde ve 30’larda, can al\u0131c\u0131 soruyu sormak m\u00fcmk\u00fcn olmam\u0131\u015ft\u0131: Bir \u00fclkede nas\u0131l bir m\u00fczik yap\u0131laca\u011f\u0131n\u0131 devlet belirleyebilir mi?<\/p>\n

ATAT\u00dcRK’TEN SONRA<\/p>\n

8 Ocak 1938 tarihli Ulus gazetesinde, Atat\u00fcrk’\u00fcn d\u00f6rt g\u00fcn \u00f6nce Kemal \u00dcnal’a yazd\u0131rd\u0131\u011f\u0131 “Fas\u0131l mus\u0131kisi milli mus\u0131ki de\u011fildir ve olamaz” ba\u015fl\u0131kl\u0131 yaz\u0131 yay\u0131mland\u0131.26 Bu yaz\u0131da yer alan “bug\u00fcnk\u00fc T\u00fcrk kafas\u0131, mus\u0131kiyi d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc zaman yaln\u0131z basit oyunlara yarayacak, insanlara basit ve ge\u00e7ici heyecan verecek mus\u0131ki aram\u0131yor. Mus\u0131ki dendi\u011fi zaman y\u00fcksek duygular\u0131m\u0131z\u0131n, hayat ve hat\u0131ralar\u0131m\u0131z\u0131n ifadesini bulan bir mus\u0131ki murad ediyoruz” ve “mus\u0131kiden bekledi\u011fimizin maddi, fikri ve hissi uyan\u0131kl\u0131k ve \u00e7evikli\u011fin takviyesi oldu\u011funa \u015f\u00fcphe yoktur,” ifadeleriyle m\u00fczik devriminin ama\u00e7lar\u0131 yeniden belirlendi 27<\/p>\n

1941 Temmuzunda Ankara Devlet Konservatuvar\u0131 ilk mezunlar\u0131n\u0131 verdi. Diploma t\u00f6reninde bir konu\u015fma yapan Milli E\u011fitim Bakan\u0131 Hasan-\u00c2li Y\u00fccel, “M\u00fcellifi bizden olmayabilir, bestekar ba\u015fka milletten olabilir. Fakat o s\u00f6zleri ve sesleri anlayan ve canland\u0131ran biziz. Onun i\u00e7in, Devlet Konservatuvar\u0131n\u0131n temsil etti\u011fi piyesler, oynad\u0131\u011f\u0131 operalar bizimdir, T\u00fcrkt\u00fcr ve millidir,”28 diyerek milli m\u00fczik tart\u0131\u015fmas\u0131na yeni bir a\u00e7\u0131l\u0131m getirdi. \u0130smet \u0130n\u00f6n\u00fc, cumhurba\u015fkanl\u0131\u011f\u0131 s\u0131ras\u0131nda viyolonsel dersleri ald\u0131, Ankara’daki konserleri sad\u0131k bir \u015fekilde takip etti ve 1930’lar\u0131n m\u00fczik politikas\u0131 \u00e7izgisinden ayr\u0131lmad\u0131.29<\/p>\n

1950’den sonraysa m\u00fczi\u011fe daha \u00e7ok Bat\u0131l\u0131la\u015fm\u0131\u015fl\u0131\u011f\u0131n bir g\u00f6stergesi oldu\u011fu \u00f6l\u00e7\u00fcde devlet\u00e7e \u00f6nem verildi, yani altyap\u0131 i\u00e7in fazla bir\u015fey yap\u0131lmazken, bireysel anlamda ba\u015far\u0131l\u0131 \u00f6\u011frenci ve sanat\u00e7\u0131lar desteklendi, yurtd\u0131\u015f\u0131ndan \u00fcnl\u00fc orkestralar getirtildi. 1960’lardaki VII. Milli E\u011fitim \u015euras\u0131, M\u00fczik ve Sahne Sanatlar\u0131 Dan\u0131\u015fma Kurulu gibi olu\u015fumlar herhangi bir belirleyicili\u011fe sahip olamad\u0131. TRT’nin etkisi, Bat\u0131l\u0131 anlamda Klasik m\u00fczi\u011fin halka benimsetilmesini isteyenleri hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fratt\u0131. 1983’te konservatuvarlar \u00fcniversitelere ba\u011fland\u0131, T\u00fcrk mus\u0131kisi konservatuvarlar\u0131 kuruldu ve b\u00f6ylece garip bir ikiba\u015fl\u0131l\u0131k yarat\u0131ld\u0131.30 B\u00fct\u00fcn bu s\u00fcre boyunca konservatuvarlar\u0131n verdi\u011fi toplam bestecilik mezunu say\u0131s\u0131 40’la s\u0131n\u0131rl\u0131 kald\u0131,31 Ankara, \u0130stanbul ve \u0130zmir senfoni orkestralar\u0131 haftal\u0131k konserlerinde T\u00fcrk bestecilerinin yap\u0131tlar\u0131na \u00e7ok az yer verildi.32<\/p>\n

DEVLETS\u0130Z M\u00dcZ\u0130K<\/p>\n

Bug\u00fcn T\u00fcrkiye’nin m\u00fczik ortam\u0131na bak\u0131ld\u0131\u011f\u0131nda ilk g\u00f6ze \u00e7arpan \u015fey, b\u00fcy\u00fck oranda kendili\u011finden geli\u015fen baz\u0131 y\u00f6nelimlerin hakimiyeti: 1980’lerde \u00e7ok tart\u0131\u015f\u0131lan arabesk olgusu art\u0131k \u015fehre g\u00f6\u00e7\u00fcn ve i\u015fsizli\u011fin ka\u00e7\u0131n\u0131lmaz bir sonucu olarak kan\u0131ksanm\u0131\u015f g\u00f6z\u00fck\u00fcyor; halk m\u00fczi\u011fi, \u00fclke \u00e7ap\u0131nda hala en \u00e7ok “satan” m\u00fczik; Klasik T\u00fcrk m\u00fczi\u011finin pop\u00fclarize hali olan sanat m\u00fczi\u011fi, kendi sanat\u00e7\u0131lar\u0131 taraf\u0131ndan geli\u015fememekle su\u00e7lan\u0131yor; pop m\u00fczikte b\u00fcy\u00fck say\u0131labilecek bir canl\u0131l\u0131k ya\u015fan\u0131yor ve bu canl\u0131l\u0131k birtak\u0131m \u00f6zg\u00fcn aray\u0131\u015flar da getirmi\u015f durumda. Klasik m\u00fczi\u011fin elit bir t\u00fcketicisi varsa da bu, T\u00fcrk bestecilerinin ortaya \u00e7\u0131kmas\u0131na ve onlar\u0131n \u00f6zg\u00fcn \u00fcretim yapmas\u0131na pek yans\u0131m\u0131yor – \u0130lhan Usmanba\u015f, B\u00fclent Arel ve \u0130lhan Mimaro\u011flu’nun uluslararas\u0131 ba\u015far\u0131ya ula\u015fm\u0131t yap\u0131tlar\u0131 T\u00fcrkiye’de neredeyse hi\u00e7 bilinmiyor. Bu \u00fc\u00e7l\u00fcn\u00fcn en genci olan Mimaro\u011flu’nun 1926 do\u011fumlu oldu\u011fu ve New York’ta ya\u015fad\u0131\u011f\u0131 g\u00f6z \u00f6n\u00fcnde bulundurulursa, T\u00fcrkiye’deki Klasik m\u00fczik ortam\u0131n\u0131n \u00e7orakl\u0131\u011f\u0131 daha iyi anla\u015f\u0131labilir.<\/p>\n

\u00d6te yandan m\u00fczik e\u011fitimi konusundaki uygulamalar, istenir \u00e7ok \u015fey b\u0131rak\u0131yor. M\u00fczik be\u011fenisinin geli\u015fmesi e\u011fer Hindemith, Bartok ve di\u011ferlerinin \u00f6ne s\u00fcrd\u00fc\u011f\u00fc gibi bir olguysa, halkevlerinin kapat\u0131lmas\u0131ndan sonra bu konuda milli e\u011fitim kapsam\u0131nda fazla bir \u00e7aba g\u00f6sterilmedi\u011fi ortada. Ayn\u0131 \u015fey, Klasik T\u00fcrk mus\u0131kisi i\u00e7in de ge\u00e7erli – geleneksel mus\u0131kinin \u00e7okseslendirilmesi gerekti\u011fine inanan “alaturkac\u0131lar”, e\u011fitim kurumlar\u0131 ve konservatuvarlar\u0131n yetersizli\u011finden yak\u0131n\u0131yor.<\/p>\n

B\u00fct\u00fcn bunlar\u0131 s\u00f6yledikten sonra, d\u00fcnyadaki y\u00f6nelimleri de hesaba katmak gerekiyor. 1990’l\u0131 y\u0131llar, “d\u00fcnya m\u00fczi\u011fi” kavram\u0131n\u0131n iyice yerle\u015fti\u011fi bir d\u00f6nemdi; Peter Gabriel’\u0131n real world adl\u0131 geni\u015f kapsaml\u0131 projesi, “yerk\u00fcresel k\u00f6y” s\u00f6yleminin \u015fampiyonlar\u0131n\u0131n en \u00e7ok gurur duydu\u011fu \u00e7al\u0131\u015fmalardan biriydi – Sibirya’dan, Tanzanya’dan, Pakistan\u2019dan, G\u00fcney Amerika’dan, \u0130rlanda’dan m\u00fczisyenlerin yap\u0131tlar\u0131 d\u00fcnyan\u0131n her yerinde dinlenir oldu. M\u00fczi\u011fm \u00f6ns\u0131n\u0131r\u0131ndaki Kronos Quartet, Romen ve Afrikal\u0131 bestecilerin yap\u0131tlar\u0131n\u0131 Philip Glass’in ve Wagner’in bestelerinin yan\u0131s\u0131ra seslendirdi. As\u0131l ilgin\u00e7 ve \u00f6nemli g\u00f6z\u00fckense, m\u00fczi\u011fin bu artan dola\u015f\u0131m h\u0131z\u0131n\u0131n sonunda etkile\u015fimin de b\u00fcy\u00fck oranda artmas\u0131 ve \u00f6rne\u011fin Amerikal\u0131 bir bestecinin Hint m\u00fczi\u011finden etkilenebilmesi. “Bu di\u011fer temay\u00fclleri atarak yaln\u0131z k\u00f6yl\u00fc mus\u0131kisine gitmek temay\u00fcl\u00fcn\u00fc \u015f\u00fcphesiz ki m\u00fcdafaa edecek de\u011filim. Bence \u015fayan\u0131 ehemmiyet olan nokta bu temay\u00fcl\u00fcn muas\u0131r di\u011fer temay\u00fcller yan\u0131ndaki me\u015fruiyetini tebar\u00fcz ettirmektir”33 diyen Bela Bartok hakl\u0131yd\u0131; m\u00fczik nas\u0131l yap\u0131lmal\u0131 sorusunu “yaln\u0131z ve her \u015feyden \u00f6nce i\u00e7tenlik… \u0130\u015fte bu kadar…”34 diyen Adnan Saygun da. Bug\u00fcn evrensel m\u00fczi\u011fin ko\u015fulu evrensel olmak; milliyet\u00e7ilik bunun i\u00e7in bir \u00f6nko\u015ful de\u011fil. Devletin bu alanda bir rol\u00fc olacaksa bu da son \u00fcr\u00fcn\u00fcn nas\u0131l olmas\u0131 gerekti\u011fini belirlemek ve yasaklamac\u0131 bir siyasa izlemek de\u011fil, \u00e7a\u011fda\u015f anlamda m\u00fczik e\u011fitimini yayg\u0131n olarak sa\u011flamak ve altyap\u0131 sorunlar\u0131n\u0131n \u00e7\u00f6z\u00fclmesine katk\u0131da bulunmak gibi g\u00f6z\u00fck\u00fcyor. Atat\u00fcrk’\u00fcn m\u00fczik devrimi giri\u015fiminin hikayesi, nelerin nas\u0131l de\u011fi\u015ftirilebilece\u011fi konusunda g\u00fcn\u00fcm\u00fcz i\u00e7in de \u00f6nemli ipu\u00e7lar\u0131 sa\u011fl\u0131yor.<\/p>\n

Cem Aka\u015f <\/strong><\/p>\n

NOTLAR:<\/p>\n

1 Sadi Irmak; Atat\u00fcrk’ten An\u0131lar, O g\u00fcnlerden bu g\u00fcnlere bir bak\u0131\u015f; G\u00fcne\u015f Matbaas\u0131, Ankara (1978); s. 17.
2 Sadi Yaver Ataman; Atat\u00fcrk ve T\u00fcrk Musikisi; K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131, Ankara (1991); s. 7.
3 Filiz Ali; “T\u00fcrkiye Cumhuriyeti nde Konservatuvarlar\u0131”, Cumhuriyet D\u00f6nemi T\u00fcrkiye Ansiklopedisi; \u0130leti\u015fim Yay\u0131nlan, Istanbul (1988); s. 1531.
4 Orhan T\u00fcrkdo\u011fan; Ziya G\u00f6kalp Sosyolojisinin Temel llkeleri; Ankara (1987); s. 109.
5 Cem Behar; “Ziya G\u00f6kalp ve T\u00fcrk Mus\u0131kisi”, Tanzimattan Cumhuriyete T\u00fcrkiye Ansiklopedisi; \u0130leti\u015fim Yay\u0131nlan, Istanbul (1985); s. 1225.
6 Age.
7 G\u00fcltekin Oransay, haz\u0131rlayan; Atat\u00fcrk ile K\u00fc\u011f; \u0130zmir (1985); s. 100. Burhanettin \u00d6kte’nin an\u0131lar\u0131ndan.
8 Age.; s. 94. Yatar Okur’un an\u0131lar\u0131ndan.
9 Cevad Memduh Altar, m\u00fczi\u011fin lirik, mitolojik\/epik ve trajik yap\u0131lar kurmay\u0131 m\u00fcmk\u00fcn k\u0131ld\u0131\u011f\u0131n\u0131, Klasik T\u00fcrk mus\u0131kisinin ise yaln\u0131zca lirik yap\u0131dan yararland\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor. Bkz. Erdo\u011fan Okyay, haz\u0131rlayan; Cevad Memduh Altar’a Arma\u011fan; And M\u00fczik Vakf\u0131 Yay\u0131nlar\u0131, Ankara (1989); s. 30.
10 Oransay (1985); s. 120.
11 Aktaran Etem \u00dcng\u00f6r; Mus\u0131ki Mecmuas\u0131 (Kas\u0131m 1963); s.189.
12 Vasfi R\u0131za Zobu’dan aktaran Oransay (1985); s.105. Osman Ergin, Haf\u0131z Ya\u015far Oku\u0131’dan aktard\u0131\u011f\u0131 bir an\u0131da, Atat\u00fcrk’\u00fcn bir fas\u0131l heyetini al\u0131p Moda’ya gidi\u015fini, Belv\u00fc gazinosunda Karmen \u00e7alan Bahriye muzikas\u0131n\u0131 durdurup incesaz heyetine “\u00c7al\u0131n\u0131z!” deyi\u015fini, zeybek havas\u0131na ge\u00e7ildi\u011finde halk\u0131n da oynamaya ba\u015flay\u0131\u015f\u0131n\u0131, Atat\u00fcrk’\u00fcn de \u015eark mus\u0131kisinin hi\u00e7 de uyu\u015fukla\u015ft\u0131r\u0131c\u0131 olmad\u0131\u011f\u0131n\u0131 g\u00f6rmekten memnunluk duydu\u011funu anlat\u0131r. Bkz. Oransay (1985); s. 96.
13 Oransay (1985); s. 121.
14 Oransay, “\u00c7oksesli Musiki”, Cumhuriyet D\u00f6nemi T\u00fcrkiye Ansiklopedisi; s. 1528.
15 Halk M\u00fczi\u011fi Hakk\u0131nda Bela Bartok’un \u00dc\u00e7 Konferans\u0131; Receb Uluso\u011flu Bas\u0131mevi, Ankara (1936); birinci konferans; s. 16.
16 Age.
17 Age.; ikinci konferans; s. 20.
18 Age.; s. 21.
19 Adnan Saygun; “T\u00fcrk M\u00fczi\u011finin \u0130nki\u015faf Yolu”, \u00dclk\u00fc; A\u011fustos 1936; ss: 419-423.
20 Age.; s. 422.
21 “Teksesli M\u00fczik”, T\u00fcrkiye Ansiklopedisi 1923-73; Kaynak Kitaplar, Istanbul (1974); s. 1110.
22 Adnan Saygun’a Arma\u011fan; And M\u00fczik Vakf\u0131 Yay\u0131nlar\u0131 (1990); s. 32.
23 Age.; s. 24.
24 Nejat Ba\u015fe\u011fmezler, haz\u0131rlayan; Necil K\u00e2zim Akses’e Arma\u011fan; And M\u00fczik Vakfi Yay\u0131nlar\u0131, Ankara, (1993); s. 34.
25 Cemal Retit Rey; “T\u00fcrk M\u00fczi\u011fi – Bat\u0131 M\u00fczi\u011fi”, Orkestra; say\u0131 19 (1964).
26 Oransay (1985); s.127.
27 Oransay (1988); s.1523.
28 Ali; s.1533.
29 Murat Kato\u011flu; “Cumhuriyet T\u00fcrkiyesinde E\u011fitim, K\u00fclt\u00fcr, Sanat”, T\u00fcrkiye Tarihi; Cem Yay\u0131nevi, \u0130stanbul (1984); cilt 4, s. 486.
30 Oransay (1988); s.1524.
31 Kato\u011flu; s. 487.
32 Adnan Saygun’a Arma\u011fan; s. 45.
33 Halk M\u00fczi\u011fi Hakk\u0131nda Bela Bartok’un \u00dc\u00e7 Konferans\u0131; s. 23.
34 Adnan Saygun’a Arma\u011fan; s. 24.<\/p>\n

KAYNAKLAR:<\/p>\n

Adnan Saygun’a Arma\u011fan; And M\u00fczik Vakf\u0131 Yay\u0131nlar\u0131, Istanbul (1990).
“\u00c7oksesli M\u00fczik”, T\u00fcrkiye Ansiklopedisi 1923-73; Kaynak Kitaplar, \u0130stanbul (1974).
Halk M\u00fczi\u011fi Hakk\u0131nda Bela Bartok’un 3 Konferans\u0131; Receb Uluso\u011flu Bas\u0131mevi, Ankara (1936).
“Teksesli M\u00fczik”, T\u00fcrkiye Ansiklopedisi 1923-73; Kaynak Kitaplar, \u0130stanbul (1974),
Laiha Karabey Ak\u0131nc\u0131; Garpl\u0131 G\u00f6z\u00fcyle T\u00fcrk Musikisi; Do\u011fan G\u00fcne\u015f Yay\u0131nlar\u0131, \u0130stanbul (1963).
B\u00fclent Aksoy; “Tanzimattan Cumhuriyete Mus\u0131ki ve Bat\u0131l\u0131la\u015fma”, Tanzimattan Cumhuriyete T\u00fcrkiye Ansiklopedisi; \u0130leti\u015fim Yay\u0131nlar\u0131, Istanbul (1985).
Filiz Ali; “T\u00fcrkiye Cumhuriyetinde Konservatuvarlar”, Cumhuriyet D\u00f6nemi T\u00fcrkiye Ansiklopedisi; \u0130leti\u015fim Yay\u0131nlar\u0131, \u0130stanbul (l988).
Necip Ali; “T\u00fcrk Dili ve T\u00fcrk M\u00fczi\u011fi”, \u00dclk\u00fc, Birincikanun 1934.
Sadi Yaver Ataman; Atat\u00fcrk ve T\u00fcrk Mus\u0131kisi; K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131, Ankara (1991).
Bela Bartok; Turkish Folk Music from Asia Minor; ed. Benjamin Suchoff; Priceton UP, Princeton (1976).
Nejat Ba\u015fe\u011fmezler, haz\u0131rlayan; Necil K\u00e2z\u0131m Akses’e Arma\u011fan; And M\u00fczik Vakf\u0131 Yay\u0131nlar\u0131, Ankara (1993).
Cem Behar; “Ziya G\u00f6kalp ve T\u00fcrk Musikisi”, Tanzimattan Cumhuriyete T\u00fcrkiye Ansiklopedisi; \u0130leti\u015fim Yay\u0131nlar\u0131, \u0130stanbul (1985).
Kemal Zeki Gen\u00e7osman; Atat\u00fcrk Ansiklopedisi; \u0130stanbul (l971).
Donald S. Hoffman; “An Introduction to Music in Modern Turkey”, The Consort, no. 22, 1965 yaz\u0131.
Evin \u0130lyaso\u011flu; \u00c7a\u011flarboyu M\u00fczik Ansiklopedisi; Yap\u0131 Kredi Yay\u0131nlar\u0131, \u0130stanbul (1995).
Murat Kato\u011flu; “Cumhuriyet T\u00fcrkiyesinde E\u011fitim, K\u00fclt\u00fcr, Sanat”, T\u00fcrkiye Tarihi; Cem Yay\u0131nevi, \u0130stanbul (1989).
Mahmut Rag\u0131b K\u00f6semihal; “Bela Bartok ve Eseri”, \u00dclk\u00fc; \u0130kincite\u015frin 1936.
Mahmut Rag\u0131b K\u00f6semihal; “Halk \u0130\u00e7in Koraller”, \u00dclk\u00fc; Haziran 1936.
Erdo\u011fan Okyay, haz\u0131rlayan; Cevad Memduh Altar’a Arma\u011fan; And M\u00fczik Vakf\u0131 Yay\u0131nlar\u0131, Ankara (1989).
G\u00fcltekin Oransay, haz\u0131rlayan; Atat\u00fcrk ile K\u00fc\u011f; \u0130zmir (1985).
G\u00fcltekin Oransay; “\u00c7oksesli Musiki”, Cumhuriyet D\u00f6nemi T\u00fcrkiye Ansiklopedisi; \u0130leti\u015fim Yay\u0131nlar\u0131, \u0130stanbul (1988).
Cemal Re\u015fit Rey; “T\u00fcrk M\u00fczi\u011fi – Bat\u0131 M\u00fczi\u011fi”, Orkestra; say\u0131 19, \u0130stanbul (1964). Adnan Saygun; “T\u00fcrk M\u00fczi\u011finin \u0130nki\u015faf Yolu”, \u00dclk\u00fc; A\u011fustos 1936.
Orhan T\u00fcrkdo\u011fan; Ziya G\u00f6kalp Sosyolojisinin Temel \u0130lkeleri; Ankara (1987).
Vam\u0131k Volkan ve Norman Itzkowitz; The Immortal Atat\u00fcrk; Chicago UP, Chicago (1986).
Onsal Y\u00fccel; “Atat\u00fcrk D\u00f6neminde Sanat Ya\u015fam\u0131”, \u00c7a\u011fda\u015f D\u00fc\u015f\u00fcncenin I\u015f\u0131\u011f\u0131nda Atat\u00fcrk; Dr. Nejat F. Eczac\u0131ba\u015f\u0131 Vakf\u0131 Yay\u0131nlar\u0131, \u0130stanbul (1983).<\/p>\n","protected":false},"excerpt":{"rendered":"

Cumhuriyet tarihinin \u015fu d\u00f6neminde “m\u00fczik devrimi” s\u00f6z\u00fcn\u00fcn tekab\u00fcl edebilece\u011fi bir ger\u00e7eklik yok gibi – devlet eliyle devrim yapman\u0131n neredeyse t\u00fcm\u00fcyle “pass\u00e9” say\u0131ld\u0131\u011f\u0131, \u00fcstelik b\u00f6yle bir devrim olacaksa da bunun k\u00fclt\u00fcrel bir alanda, hele m\u00fczik gibi soyut bir alanda yap\u0131lmas\u0131n\u0131n iyice anla\u015f\u0131lmaz bulundu\u011fu g\u00fcnler bunlar. B\u00f6yle olmas\u0131, yani Cumhuriyetin ilk ony\u0131llar\u0131n\u0131n toplu ve k\u00f6kl\u00fc de\u011fi\u015fim havas\u0131n\u0131n […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[93],"tags":[],"class_list":{"0":"post-710","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-muzik-genel-kultur"},"yoast_head":"\nYetmi\u015f Y\u0131l Sonra 'M\u00fczik Devrimi' | Cem Aka\u015f - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yetmi\u015f Y\u0131l Sonra 'M\u00fczik Devrimi' | Cem Aka\u015f\" \/>\n<meta property=\"og:description\" content=\"Cumhuriyet tarihinin \u015fu d\u00f6neminde “m\u00fczik devrimi” s\u00f6z\u00fcn\u00fcn tekab\u00fcl edebilece\u011fi bir ger\u00e7eklik yok gibi – devlet eliyle devrim yapman\u0131n neredeyse t\u00fcm\u00fcyle “pass\u00e9” say\u0131ld\u0131\u011f\u0131, \u00fcstelik b\u00f6yle bir devrim olacaksa da bunun k\u00fclt\u00fcrel bir alanda, hele m\u00fczik gibi soyut bir alanda yap\u0131lmas\u0131n\u0131n iyice anla\u015f\u0131lmaz bulundu\u011fu g\u00fcnler bunlar. B\u00f6yle olmas\u0131, yani Cumhuriyetin ilk ony\u0131llar\u0131n\u0131n toplu ve k\u00f6kl\u00fc de\u011fi\u015fim havas\u0131n\u0131n […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\" \/>\n<meta property=\"og:site_name\" content=\"narteks.net\" \/>\n<meta property=\"article:published_time\" content=\"2009-04-26T14:05:16+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg\" \/>\n<meta name=\"author\" content=\"Tar\u0131k\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@narteks\" \/>\n<meta name=\"twitter:site\" content=\"@narteks\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Tar\u0131k\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"31 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\"},\"author\":{\"name\":\"Tar\u0131k\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\"},\"headline\":\"Yetmi\u015f Y\u0131l Sonra ‘M\u00fczik Devrimi’ | Cem Aka\u015f\",\"datePublished\":\"2009-04-26T14:05:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\"},\"wordCount\":6184,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg\",\"articleSection\":[\"M\u00fczik Genel K\u00fclt\u00fcr\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\",\"url\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\",\"name\":\"Yetmi\u015f Y\u0131l Sonra 'M\u00fczik Devrimi' | Cem Aka\u015f - narteks.net\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg\",\"datePublished\":\"2009-04-26T14:05:16+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#breadcrumb\"},\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage\",\"url\":\"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg\",\"contentUrl\":\"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Anasayfa\",\"item\":\"https:\/\/narteks.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Yetmi\u015f Y\u0131l Sonra ‘M\u00fczik Devrimi’ | Cem Aka\u015f\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/narteks.net\/#website\",\"url\":\"https:\/\/narteks.net\/\",\"name\":\"narteks.net\",\"description\":\"K\u00fclt\u00fcr Sanat Edebiyat Felsefe\",\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"alternateName\":\"K\u00fclt\u00fcr Sanat Edebiyat Felsefe\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/narteks.net\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"tr\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/narteks.net\/#organization\",\"name\":\"narteks.net\",\"url\":\"https:\/\/narteks.net\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\",\"contentUrl\":\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\",\"width\":300,\"height\":90,\"caption\":\"narteks.net\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/x.com\/narteks\",\"https:\/\/instagram.com\/narteksnet\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\",\"name\":\"Tar\u0131k\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g\",\"caption\":\"Tar\u0131k\"},\"sameAs\":[\"http:\/\/narteks.net\"],\"url\":\"https:\/\/narteks.net\/index.php\/author\/narbak\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Yetmi\u015f Y\u0131l Sonra 'M\u00fczik Devrimi' | Cem Aka\u015f - narteks.net","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/","og_locale":"tr_TR","og_type":"article","og_title":"Yetmi\u015f Y\u0131l Sonra 'M\u00fczik Devrimi' | Cem Aka\u015f","og_description":"Cumhuriyet tarihinin \u015fu d\u00f6neminde “m\u00fczik devrimi” s\u00f6z\u00fcn\u00fcn tekab\u00fcl edebilece\u011fi bir ger\u00e7eklik yok gibi – devlet eliyle devrim yapman\u0131n neredeyse t\u00fcm\u00fcyle “pass\u00e9” say\u0131ld\u0131\u011f\u0131, \u00fcstelik b\u00f6yle bir devrim olacaksa da bunun k\u00fclt\u00fcrel bir alanda, hele m\u00fczik gibi soyut bir alanda yap\u0131lmas\u0131n\u0131n iyice anla\u015f\u0131lmaz bulundu\u011fu g\u00fcnler bunlar. B\u00f6yle olmas\u0131, yani Cumhuriyetin ilk ony\u0131llar\u0131n\u0131n toplu ve k\u00f6kl\u00fc de\u011fi\u015fim havas\u0131n\u0131n […]","og_url":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/","og_site_name":"narteks.net","article_published_time":"2009-04-26T14:05:16+00:00","og_image":[{"url":"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg","type":"","width":"","height":""}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"31 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Yetmi\u015f Y\u0131l Sonra ‘M\u00fczik Devrimi’ | Cem Aka\u015f","datePublished":"2009-04-26T14:05:16+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/"},"wordCount":6184,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"image":{"@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage"},"thumbnailUrl":"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg","articleSection":["M\u00fczik Genel K\u00fclt\u00fcr"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/","url":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/","name":"Yetmi\u015f Y\u0131l Sonra 'M\u00fczik Devrimi' | Cem Aka\u015f - narteks.net","isPartOf":{"@id":"https:\/\/narteks.net\/#website"},"primaryImageOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage"},"image":{"@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage"},"thumbnailUrl":"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg","datePublished":"2009-04-26T14:05:16+00:00","breadcrumb":{"@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#breadcrumb"},"inLanguage":"tr","potentialAction":[{"@type":"ReadAction","target":["https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/"]}]},{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#primaryimage","url":"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg","contentUrl":"http:\/\/img2.blogcu.com\/images\/p\/i\/y\/piyanistiraz\/muzik.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/yetmis-yil-sonra-muzik-devrimi-cem-akas\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Anasayfa","item":"https:\/\/narteks.net\/"},{"@type":"ListItem","position":2,"name":"Yetmi\u015f Y\u0131l Sonra ‘M\u00fczik Devrimi’ | Cem Aka\u015f"}]},{"@type":"WebSite","@id":"https:\/\/narteks.net\/#website","url":"https:\/\/narteks.net\/","name":"narteks.net","description":"K\u00fclt\u00fcr Sanat Edebiyat Felsefe","publisher":{"@id":"https:\/\/narteks.net\/#organization"},"alternateName":"K\u00fclt\u00fcr Sanat Edebiyat Felsefe","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/narteks.net\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"tr"},{"@type":"Organization","@id":"https:\/\/narteks.net\/#organization","name":"narteks.net","url":"https:\/\/narteks.net\/","logo":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/#\/schema\/logo\/image\/","url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","contentUrl":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","width":300,"height":90,"caption":"narteks.net"},"image":{"@id":"https:\/\/narteks.net\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/narteks","https:\/\/instagram.com\/narteksnet"]},{"@type":"Person","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca","name":"Tar\u0131k","image":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g","caption":"Tar\u0131k"},"sameAs":["http:\/\/narteks.net"],"url":"https:\/\/narteks.net\/index.php\/author\/narbak\/"}]}},"_links":{"self":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts\/710","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/comments?post=710"}],"version-history":[{"count":0,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts\/710\/revisions"}],"wp:attachment":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/media?parent=710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/categories?post=710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/tags?post=710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}