Türk Din Mûsikîsi Terim ve Türlerinin Tasnifine Dair Farklı Bir Deneme (original) (raw)
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Dīwān Lughāt al-Turk is one of the most significant and ancient dictionaries in the history of the Turkish language. Composed during the Karakhanid Turkish period, this work has been extensively studied in the field of Turkology, thanks to its extensive vocabulary. In the context of this article, Dīwān Lughāt al-Turk was chosen as a primary source of data, and a fresh attempt at classification was undertaken by categorizing the war-related terms within the text under various thematic headings. Within this classification, the war-related terms in Dīwān Lughāt al-Turk were scrutinized through seven primary categories. The analysis revealed that the category of ‘Tools and Equipment’, as well as ‘Horses and Gifts’, stood out as the most frequently employed topics, constituting 48% of the usage. This was followed by categories such as ‘Words Relating to Individuals’ and ‘Expressions Used in Various War Situations’, making up 18% and 15% respectively. This article aims to introduce a novel classification endeavor on this subject, drawing from existing research on war terminology within Dīwān Lughāt al-Turk, and aims to serve as a foundational resource for future studies in this area.
Türk Mûsikîsinin Tasnîf ve Tesmiyesine Bir Bakış
İSTEM
Türk mûsikîsi asırların süzgecinden geçerek günümüze ulaĢan, pek çok farklı tür ve biçimde eserlerden meydana gelen büyük bir kültür atlasına hâizdir. Mûsikîmizin ihtivâ ettiği zenginlikler, geçmiĢten günümüze türler ve biçimler baĢlıkları altında farklı yaklaĢımlarla tasnîf edilegelmiĢtir. Bu tasnîfler esnasında kullanılan bir takım isim ve tamlamalar zaman zaman içeriği gereğince iĢaret edemeyen kavramların ve sorunların türemesine yol açmıĢtır. Türk mûsikîsi, din olgusu temelinde çeĢitlenmiĢ bir mûsikîdir. Mûsikîmizde dînî mûsikî baĢlığı altında ifade edilen ve ibâdet maksadı gözetilerek üretilen eser ve icrâlardan yola çıkılarak yapılan tasnîfler, asârın ciddi bir kısmını lâdîni ifadesi ile dinin dıĢına itmektedir. Aynı Ģekilde Türk mûsikîsi için kullanılan-Klasik Türk Mûsikîsi‖,-Türk Sanat Müziği‖,-Türk Halk Müziği‖ adlandırmaları da anlam, muhteviyat, maksat vb. bakımlardan kanaatimizce sorunludur. Mûsikîmizin tasnîfinde karĢılaĢılan sorular ve sorunlara bir bakıĢ açısı getirmek maksadı ile bu makale kaleme alınmıĢ, mezkûr sorunların çözümüne iliĢkin bir takım öneriler sunulmuĢ ve irdelenmiĢtir.
Güzel Sanatlar Enstitüsü Dergisi, 2019
Osmanlıda yenilikçi hareketlerin başlangıcı olarak Tanzimat'ın ilanı kabul edilir. Sözlükte "düzenlemek, sıraya koymak, ıslah etmek" anlamındaki tanzîm kelimesinin çoğulu olan "tanzîmât", "mülkî idareyi ıslah ve yeniden organize etme" anlamında kullanılır. Mülki idarenin yanı sıra pek çok alanda yeniliklerin yapıldığı bilinmektedir. Sultan Abdülmecid Hân'ın (1839-1861) yayımladığı mülkî ıslahat programı ve uygulandığı bu dönem ise "Tanzimat Dönemi" olarak nitelendirilir. Ancak bu yenilikçi hareketlerin başlangıcını Tanzimat olarak sınırlandırmak çok gerçekçi değildir. Özellikle sanat ve sanatın kollarından biri olan mûsikî için yenilikçi hareketler, Sultan III. Selim Hân (1789-1807) ve Sultan II. Mahmut Hân (1808-1839) dönemine kadar indirilebilir. Bu yenilikçi hareket kullanılan makamlar, usuller, repertuar, nazariyat, müzik yazısı, formlar gibi pek çok alanda göze çarpmaktadır. Günümüzde kullanılan mûsikî formlarının tarifi, eserler incelendikten sonra elde edilen veriler ile klasik kurallar birleştirilerek yapılmıştır. Aslında Türk mûsikîsinin kurallar üstüne icra edilen bir tür olmadığı, kuralların bu mûsikî üzerine yazılmış olduğunu söylemek daha doğru olacaktır. Bu araştırmada özellikle yenilikçi hareketlerin başlamasıyla Türk mûsikîsinde kullanılan yeni mûsikî formlarının karşılaştırılmalı olarak ortaya konmasının yanı sıra daha önceki dönemlerde kullanılmış formların teori-pratik ikilemi içerisinde kuralların ne derece eserlerle örtüştüğü değerlendirilmiştir.
Amasya İlahiyat Dergisi, 2023
Qadiriyya, known as one of the first and largest sects of the Islamic world, was founded by Abdülkadir Geylânî (d. 561/1166) and showed its influence in continents such as Europe and Africa, especially Asia. Qadirism, which is divided into many branches, forms the basis of Farukiyya, which is the subject of our research, in terms of lineage, starting from Abdülkâdir Geylani. After Qadirism, Naqshbandism is the most widespread Sufi movement in the Islamic world. The sect founded by Bahaeddin Naqshband (d. 791/1389) also appears as another sect with which Farukiyya has a connection in terms of the sheikh lineage. Naqshbandiyya, which has continued its activities in many continents, especially in Central Asia, is divided into branches in Anatolia: Ahrārīs, Qāsānīs, Urmāwīs, Murādīs, Juryānīs, Khalīdīs and Mujaddīdīs. Of these, Mujaddidîyya founded by Imam Rabbânî in India in the 17th century. Naqshbandi order came to Anatolia in the 18th century. It was reached through the caliphs of Muhammed Masum (d. 1079/1668), the son of Imam-i Rabbânî (d. 1034/1624) in the 11th century. This branch is also important as it is the branch to which Farukiyya is affiliated. Abdullah Fârûkî, who is the only Mujaddidî sheikh in Anatolia with the permission he received from Abdülhalil Müceddidî (d. 1401/1981), appears as the founder of Farukism. Abdullah Fârûkî was also affiliated with Alaaddin-i Fersâfî (d. 1385/1966) and took lessons from him. Subsequently, he founded the Farukiyya path, which is based on Qâdirî-Nakşibendî-Mujaddidi. For this reason, Farukiyya appears as a sect that includes the practices of the Qadiri, Naqshbandi and Mujaddidi sects. This study started with the establishment and historical process of Farukiyya, and then Turkish religious music practices were included. In addition, the study briefly included the formation and historical process of the Qadiri, Naqshbandi and Mujaddidi sects. In addition, the study also included the sheikh lineage of Farukiyya, and the activities of the Ayyubid Foundation, which contributed to the recognition of Farukiyya. The Farukiyya sect, which we researched because of its use of Turkish religious music forms, appears as a sect whose relationship with music has been determined as a result of archive scans, interviews and observations. This study aims to determine the practices of Farukiyya, a sect founded in Ankara, in terms of Turkish religious music. In this context, a religious order was attended and it was observed that Turkish religious music forms were performed. The forms performed in the dhikr arrangements and the composed hymns belonging to the lodge were identified. Interviews were conducted regarding the dhikr organization of the sect. It has been observed that in Farukiyya, the dhikr organization was initially held on Thursdays, but later on it was held on Friday evenings due to work and continues to be held. It was observed that before the dhikr, conversations were held about tafsir, fiqh, hadith and Sufism. It has been stated that the books of Sufis such as Imam Rabbânî and Abdülkadir Geylani, among the sheikh masters in their lineage, were also read. Following the conversation, it was stated by the members of the foundation that the night prayer was performed before the dhikr arrangement, that istighfar was asked three times after the fard of the night prayer, and that "lailahe illallah" was recited 10 times as a tasbihat. It was stated by the members of the foundation that since dhikr is accepted as worship in Farukiyya, it is believed that there should be no musical instruments at the time of dhikr. For this reason, it has been observed that instrumental instruments are not present at the time of dhikr. With the help of the works identified and the sound recordings obtained as a result of the research, the original compositions sung in the sect were notated for the first time, and it was aimed to add new works to the repertoire of Turkish religious music. Recitation of the Holy Quran, forgiveness, salavat, imamet, tasbihât, kaside, hymns, breaths and elegies are performed in the sect, and especially the salavat in the Huseynî maqam is recited with a special composition, unlike other sects. However, it was observed that there were minor changes in the composition of the basmala performed in many sects, and these changes were detected and noted. In addition, the 12 identified hymn forms were also notated.