We found a match
Your institution may have rights to this item. Sign in to continue.
- Title
TÜRKİYE, ARAP (MISIR-SURİYE) VE İRAN'DA NEY İCRALARI VE KARŞILAŞTIRMALARI.
- Authors
Tüfekçi, Ali; Beşiroğlu, Ş. Şehvar
- Abstract
Ney has a very important place in the execution of the Turkish Maqam Music. Apart from the musical arena, this feature of Ney and its touchy voice were used in the literary arena, treatment with the music and in the social life. In the execution of Ney, especially Turkey and Arabic world and Iran became the regions in cultural interaction with each other. In these regions in frequent interaction with each other, Ney differs in terms of its execution and physical and technical differences. In this study, considering the examples of Arabian Ney execution type in Egypt, Syria and especially in Turkey, a new point of view is targeted to set forth within the scope of the root of the instrument, its performance technique, physical structure, ways of blowing and intercultural interaction together with the technical and execution types that have become varied in Iran. The fact that ney was being used during the ages before Islamism can be understood from the Sumerian excavations. It has been written that a ney was founded in a Sumerian grave that belongs to B.C. 2800, during the excavations performed by British Museum and Pennsylvania University Committees. There are several stories with regard to the existing of ney during the times of Mohammed. Among these, the mostly narrated story about ney takes part in a work of Eflaki Dede, named Ariflerin Menkıbeleri. This specialness given to ney has also continued after Islamism, Mevlâna Celâleddin-i Rûmi started first eighteen couplet of his Mesnevî with the words of Listen from Ney and by defining ney in sufistic terms he assimilated it with İnsan-ı kâmil (perfect human being) in XIIIth century Ney and ney performers have played an important role in this chain of culture, increasingly expanding from Anatolian lands to Asia and Africa, under the umbrella of Mevlevi Order. This period resulted in ney to be called as nây-ı şerif. Rumi gave importance to such musical instruments as ney, rebab and kudüm; and he sublimed these instruments in his Masnavi. In the forthcoming centuries, Evliya Çelebi in his Seyahatname, Abdülkadir Meragi, Ahmedoğlu, Şükrullah, Hace Abdülaziz Çelebi made classifications and explanations about ney. In XVIIIth and XIXth centuries we can see European travelers who came to the lands of Ottomans with different purposes and made researches and their works. Travelers like H.Blainville (b.1710), Charles Fonton (b.1725), Andre Villoteau (b.1759) and F.Joseph Sulzer (b.1781) gave information about the definitions and types of ney. In XXth century, Turkish composer, musicologist and performer theoreticians made definitions about ney accords. Egypt is known to have been a central region for culture and art in the Arabian Peninsula. Within this scope, Egyptian and Andalusian schools, two different schools known since 10th century, can be mentioned. After Selim I, the Ottoman Empire of that time, got a victory at the 'Battle of Ridaniya' in 1517; Egypt, Cairo and Syria were included in the Ottoman borders. So, comprehensive cultural and artistic influences were experienced in the aforementioned regions. For Ottoman Empire; Syria, Damascus and Aleppo became an important center of commerce, culture and art with their Mevlevi Lodges on the way to Hajj. Since the beginning of 1900s, artworks of the classical Turkish music is happily performed; and still at conservatories, artworks of such musical masters as Tamburi Cemil Bey, Muallim İsmail Hakkı Bey, Şerif Muhiddin Targan are listed amongst the top artworks of the concerts and training repertoires. Iran is a country which has been in interaction and has close relations with Turkey due to its history and culture for long years. This interaction is experienced during performing Ney too. It is known that, ney performers were brought from Iran by Selim I, after the Battle of Chaldiran, in 16th century. It is recorded in the Ottoman archives that ney performers called Nayi Sheik Murad, Neyzen Imam Kulu, Nayi Maksud, Nayi Hasan were brought from Tabriz via order of Selim I; and they worked at Enderun School for wages from ten to eighteen akçe (Ottoman currency of silver coins). This brought executional and technical differences together with interaction. When we compare Turkish, Iranian and Arabic (Egypt-Syria) ney and ney execution; we can see that there are differences in technical and physical terms and in terms of blowing ways and accord perceptions.
- Subjects
FLUTE music; TURKISH music; ARABIC music; NAY music; MANNERS &; customs; MUSIC history
- Publication
Porte Akademik: Journal of Music & Dance Studies / Porte Akademik Müzik ve Dans Araştırmaları Dergisi, 2013, Vol 8, p38
- ISSN
2619-9688
- Publication type
Article