Kar-ı Natık formu üzerine bir çalışma ve yeni bir kar-ı natık: "Rast Kar-ı Nadirat" /
Yazar: GÖNÜL PAÇACI
Danışman: DOÇ. MUTLU TORUN
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü
Derece: Sanatta Yeterlik, 1994
Konu: Güzel Sanatlar = Fine Arts ; Müzik = Music
Dizin: Besteler = Compositions ; Kar-ı Natık = Kar-ı Natık ; Makamlar = Modes ; Müzik = Music ; Rast kar-ı natık = Rast kar-ı natık ; Türk müziği = Turkish music ; Türk sanat müziği = Turkish art music

Özet:
ÖZET Bu çalışma, Klâsik Türk Mûsıkîsi'nin büyük, dindışı sözlü formlarından "Kâr-ı Naük"ı konu almaktadır. Kâr-ı Natık, içerdiği özellikler, fonksiyonları ve kullanım amaçlan açısından tamamen özgün bir formdur. Genel anlamda tarihsel, yapısal ve fonksiyonel açılardan ele alınarak analize tâbi tutulan bu formda bugüne kadar yapılmış olan örnekler de tek tek irdelenmiştir. Bu arada geleneksel müziğimizde bestecilerin, şartlan tarih içinde belirgin leşmiş bir formun, daha doğrusu bu formun kullandığı güftenin belirleyiciliğine rağmen özgür yaratımlarını izleyebilmek de mümkün olabilmiştir. Çalışma, bu yönden başlı başına, bestekârlık tekniğinin sınırlan içine giren bir açılımı da kapsamaktadır. Böylece çalışmada öncelikle ele alınarak, günümüze notası ulaşabilen bu kâr-ı naüklar, olabildiğince sağlam kaynaklardan gelen notalanmn da ilavesiyle toplu halde değerlendirilmiş olmaktadır. Daha sonra ise, bu çalışmalann ışığında yeni bestelenen bir kâr-ı natık yer almaktadır: "Rast kâr-ı nâdirât". Örneği az bulunan makamlardan oluşan bu yeni eser, besteleniş gerekçeleri ve bestelenirken izlenilen yol bağlamında değerlendiril miş ve bu bölümün sonuna da notası eklenmiştir. Bu çalışmanın temelinde, geçmişe mal olmuş sanatsal değerlerimizin (eski makamlar, eski usuller, eski formlar) bugün de, bugünün bakış açısıyla değerlendi rilebileceği fikri yatmaktadır. Bu sayede, pek çok şartlanmanın aşıldığı günümüz dünyasında, kültürel geçmişimizle banşık yeni yaratımlara ulaşmanın bir örneği, akademik düzeyde verilmek istenmiştir.

Abstract:
SUMMARY Classical Turkish Music which is completed its traditional evolution by means of "teaching and passing to the next generation", needs to be protected using today's scientific methods. The historical dimention of our classical music and limited documentation reached today has to be studied scientifically without loosing their inner values. Today, music education given academically needs to preserve its connections with our past. There fore, music teachers should maintain the delicate balance between historical and structural specifications and today's values. With this perspective, Kar-ı Natik form can be counted on as one of the best examples to serve this goal. Kar-i Natik form presents classical Turkish Music's "teaching and passing to the next generations" system very distinctly. In this study the Form's structure and examples reached today have been analyzed in a historical view. -vr.Examining this form which is thought verbally in the past is also gives a good understanding of the traditional methods. Rare examples of Kar-ı Natik forms are very important because of their rich structure for understanding integrity of our traditional music. By composing the Kar-i Natik presented in the last chapter I also wanted to serve to the same purpose. The notes of all Kar-i Natik examples included in various chapters gathered from several important historical sources. Some of them have been presented with the handwriting of their compositors (Such as Refik Fersan's Rast Kar-i Natik). The subject of this study "Kâr-ı Natik" is one of the long, non- religious verbal forms in Classical Turkish music. Regarding its specifications and goals in usage, Kâr-ı Natik can be defined as a "free-form". In this study this form has been analyzed from the historical, functional and structural perspectives as well as all known examples as of today. -VII-With these perspectives, the creativity of the compositors in traditional Turkish music also observed along the rules of joined structure defined over the history. In the first chapter, all Kâr-ı Natık form documented as of today has been evaluated with additional notes gathered from reliable (as possible) sources belonged. Second chapter includes a new Kâr-ı Natık composition effected by the studies made called "Rast Kâr-ı Nadirat". After these chapters, finally a new Kar-ı Natık form has been presented showing the reasons of its composition and general specifications of its structure. The poet of the form has been written by Prof. Dr. Mustafa Tahralı in 1989, music composition is completed in 1994 as a part of this thesis which was based upon another study for the rare "Makam's" I previously completed in 1988 at ÎTÜ Sosyal Bilimler Enstitüsü. Kâr-ı Natık form's unique structure has made possible to create a musical composition which consist of 60 rare makam in a single form. The word "Nadir" included in the title of the form means "rare" used to specify the most definite future of makam's. VIIIDuring the study, Kar-ı Natik form has been examined from different aspects in following views: Initially the most specific future of the form which is "teaching and passing to the next generation" have been examined, next; the structure of the form and technical specifications enclosed. In the following chapters, forms historical evaluation has been studied, finally all known examples, gathered from different sources have been analyzed by including all notes belonged. The study of these examples also includes its composers short evaluation regarding their creativeness and comparisons among other "Kar-ı Natik"s. Additional notes have been subtitled to identify their original sources. These sources have been accumulated from the reliable and hand written original documents which I have gathered personally between 1986-1992 during the restructuring and archiving studies from "Dar-ül Elhan". The School of "Dar-til Elhan" which has been established in 1918. Is the first formal music-school which previously named "İstanbul Belediye Konservatuarı". The same school is currently being called as "Istanbul Üniversitesi Devlet Konservatuarı". Most of the notes taken from the archives of this institution are also rewritten by numerous famous musicians such as Rauf Yekta Bey (Example Rast Fihrist Kar-ı Natık). -IXThe notes of the Rast Kâr-ı Nadirât which combines rare examples of "makam"s are added to the end of this chapter along the reasons and the paths to its compositions. Basically, the goal of this study is to demonstrate that by using traditional "makam" s old forms and old rhythms with today's perspective; traditional values can be re-evaluated and restored to obtain the integrity of our culture. X-