Gelenek kurguları, Darülelhan ve aktörlerı̇nden Rauf Yekta Bey
Construction of tradition, Darülelhan and one of its actors Rauf Yekta Bey
Yazar: DUYGU TAŞDELEN
Danışman: PROF. DR. NİLGÜN DOĞRUSÖZ DİŞİAÇIK ; PROF. DR. ALİ ERGUR
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzikoloji ve Müzik Teorisi Bilim Dalı
Derece: Doktora, 2021
Konu: Müzik = Music
Dizin: Darülelhan = Darulelhan ; Gelenekler = Traditions ; Müzik eğitimi = Music education ; Rauf Yekta Bey = Rauf Yekta Bey ; Türk müziği = Turkish music

Özet:
İTÜ Lisansüstü Eğitim Enstitüsü, Müzikoloji ve Müzik Teorisi Anabilim Dalı,
Müzikoloji ve Müzik Teorisi Programında doktora tezi olarak hazırlanan bu
çalışmada; dönemin değişen koşullarında Türk müziğinin aktarım, icra ve nazariyat
geleneklerinin Darülelhan aracılığı ile nasıl şekillendirilmeye çalışıldığı, kurumun
dönemin Türk müziği üretim ortamına etkileri, aktör olarak Rauf Yekta Bey'in içinde
bulunduğu sosyo-kültürel koşullar ve Rauf Yekta Bey'in gelenek anlayışını oluşturan
unsurlar incelenmiştir.
Osmanlı Devleti'nde büyük dönüşümlerin ve karşıtlıkların yaşandığı 19. yy.da,
modernleşme ve modernleşmenin rasyonelleştirici etkisi ile yaşanan askeri, siyasi ve
toplumsal değişmenin izleri, Türk müziğinin kültürel üretim sahasında da
görülmektedir. Türk müziğinde özellikle aktarım, nazariyat ve icra geleneğinde
değişmelerin yaşandığı bu süreçte, değişmenin modern eğitim kurumları eliyle
yeniden inşâ edilmesi, Türk müziği eğitiminin kurumsallaşması ihtiyacı ve fikri
gündeme gelmeye başlamıştır. Bu amaçla açılan ve hem Osmanlı Devleti'nin son
dönemlerinin hem de yeni kurulan Türkiye Cumhuriyeti'nin resmî müzik eğitim
kurumu olan Darülelhan'a, dönemin müzikal beğenisini ve üretimini yeniden inşâ
etmede önemli bir misyon yüklenmiştir. Osmanlı Devleti'nde Batılılaşma süreci ile
başlayan, Türk müziğinin çeşitli alanlarındaki dönüşümün Darülelhan'da verilen
eğitim ve sanat faaliyetleri ile kurumdan mezun olan öğrenciler aracılığıyla
şekillendirilmeye çalışılması amaçlanmaktadır. Kurumun yönetmelikleri
incelendiğinde, Türk müziği eğitiminde 'bilimsellik' ve yazılı kültür vurgunu yapıldığı
görülmektedir. Kurum için belirlenen temel amaçlar, dönemde hâkim olan pozitivist
ve rasyonalist düşüncenin Türk müziği alanına yansıması gibidir. Oluşturulan fasl-ı
umumi heyetlerinin çalışmaları ve konserleri ile kurumdaki müzik anlayışının mesleki
sosyalleşme yoluyla yaygınlaştırılmaya çalışıldığı da anlaşılmaktadır. Ancak kurumun
1916 yılında başlayan ilk döneminde maddi yoksunluklar, Dünya Savaşının etkileri
gibi nedenlerle Darülelhan planlandığı şekilde faaliyet gösterememiştir.
1923 yılında Şark ve Garb müziği şubeleri ile eğitime başlanan ikinci yapılanma
döneminde ise Darülelhan'ın, Avrupa'daki muadilleri gibi 'asri' bir kurum olarak
faaliyet göstermesi amaçlanmaktadır. Hem sanatsal etkinliklerle hem de kurumda
yapılan çalışmalar ile bu dönemin, ilk dönemden daha verimli olduğu söylenebilir. Bu
dönemde yapılan faaliyetler ile kurumun amaçlarının daha çok örtüştüğü
görülmektedir. Yapılan konserlerden, nota kullanımından, yayın faaliyetlerinden
anlaşıldığı üzere Türk müziğinin aktarım ve icrasında değişmeler gözlemlendiği gibi;
Türk müziği ile ilgili ilk kez bilinçli şekilde -Türk müziğinin kayıt altına alınması ve
alanda sistemli ilk çalışmaların gerçekleştirilmesiyle- literatür oluşturma amacının da
gerçekleştirildiği görülmektedir.
Dönemin kültür dünyasındaki belirleyiciliği ve Türk müziği geleneğinin yorumlayıcısı
ve üreticisi olarak önemli bir tarihsel özne olan Rauf Yekta Bey'in biyografisi yeni
belgeler ve kaynaklarla yeniden inşâ edilmiştir. Gerek gelenek anlayışını
anlamlandırmada gerekse aktör olarak konumunu belirlemede yapılan biyografik inşâ
ve sosyolojik değerlendirme önem taşımaktadır.
Osmanlı modernleşmesinin yaşanmakta olduğu bir dünyaya doğan, çokkültürlü bir
ortamda büyüyen ve Batılı bir eğitimden geçen Rauf Yekta Bey; Türk müziği
çalışmalarına Zekai Dede'nin meşk yöntemine dayalı eğitimi ile başlamış ve Şeyh
Ataullah Efendi, Şeyh Celalleddin Efendi ile sürdürdüğü çalışmaları ise kendisinin
rasyonel ve pozitivist bakış açısını güçlendirmiştir.
Tez çalışmasında, -geleneğin söylemselliği göz önünde bulundurularak- Rauf Yekta
Bey'in gelenek anlayışını anlamlandırmak ve gelenek-modern arasındaki konumunu
belirlemek üzere süreli yayınlarda yazdığı yazılardan ve teori çalışmalarından Türk
müziğinin çeşitli alanlarındaki fikirleri incelenmiştir. Türk müziğinin aktarımı, müzik
teorisi, tarih yazımı, terminoloji tartışmaları, geleneğin sürekliliği ve çoksesliliği
hakkındaki görüşleri üretimlerinden yola çıkarak değerlendirilmiştir.
Besteci olarak Rauf Yekta Bey'i incelediğimizde, kendi deyimiyle 'eski ve yeni tarz'
besteleri bulunmaktadır. Eski tarz olarak tanımladığı Mevlevi Ayini, kâr gibi türlerde
makam-usul kullanımı ve yapısal özelliklere bağlı kaldığı görülmektedir. Bununla
birlikte şarkı, nakış beste gibi türlerde değişmeye açık bir bestecilik anlayışı göstermiş
ve özellikle marş, opera denemesinde çeşitli makamsal, ritmik ve yapısal arayışlara
girmiştir.
Rauf Yekta Bey'in, özellikle 'milli musiki' tartışmaları içinde, Türk müziğinin
savunucusu misyonuyla pek çok polemik yazısı kaleme aldığı görülmektedir. Bu
polemik yazılarının temel amacı değişen toplumsal yapıda Türk müziğini
konumlandırabilmek ve ona bir değer atfedilmesini sağlamaktır.
Rauf Yekta Bey, Türk müziğinin çeşitli alanlarının geleneğinin savunuculuğunu ve
sürdürücülüğünü yaparken ideolojik olarak gelenekçi bir bakış açısı ile fikirlerini
şekillendirmemiş; geleneğin dönüşebildiğinin, aktarımının ve hayata geçirilmesinin
hayatın ve toplumsal sürecin seyri içinde gerçekleştiğini görebilmiştir.

Abstract:
This study prepared as a dissertation at the ITU Graduate School, Musicology and
Music Theory Program reviews the efforts to shape through Darülelhan the teaching,
performance, and theory traditions of Turkish music under the paradigm shift of the
era, the effects of the instituion on the Turkish music production environment of the
era, the socio-cultural environment of Rauf Bey as an actor, and elements comprising
Rauf Yekta Bey's understanding of tradition.
Traces of the military, politicial, and social changes stemming from modernization and
the rationalizing effect there of are witnessed also in the cultural production field of
Turkish music during the 19th Century which was a time of great transformation and
contradiction in the Ottoman State. During this process which was witness to changes
particularly in the traditions of teaching, performance, and theory; the idea to necessity
of the construction of the change through modern education institutions, and
instituionalization of Turkish music education started to be become prominent. The
Darülelhan which was established for this purpose and which served as the official
music education institution in both the late Ottoman State and the newly founded
Republic of Turkey was charged with an important mission in rebuilding the musical
taste and production of the times. It was attempted to shape the transformation in
various fields of Turkish music, which started with the Westernization process in the
Ottoman State, through the educational and cultural activities at Darülelhan as well as
the graduates of the institution. A review of the institution's regulations shows an
emphasis on written culture and 'being scientific' in Turkish music education. The
fundamental goals set for the institution are a reflection of the positivist and rationalist
thinking dominant at the time on Turkish music. It is also understood that the
instituion's understanding of music was attempted to be spread through professional
socializing by way of works by groups comprised of musicians from outside the
institution called 'fasl-ı umumi heyeti'.
It was aimed for the institution to perform as a 'modern' institution similar to its
counterparts in Europe during its restructuring in 1923 when the institution started
education activities in two branches for Eastern and Western music. It can be said that
this era was more productive than the previous one in terms of both artistic activities
and works carried out at the institution. Greater convergences between the institution's
goals and activities implemented is observed during this period. The concerts held, use
of notes, publication activities all point to changes in the teaching and performance of
Turkish music along with which the aim of creating Turkish music literature in a
concerted way for the first time by recording Turkish music and through the first
systematic efforts in the field is also observed to have been fulfilled.
The biography of Rauf Yekta Bey who was an influential figure in the cultural sphere
of the time as well as a historically important agent as an interpreter and producer of
Turkish music tradition has been reconstructed in light of new documents and sources.
Currently available documents and resources provide information beyond previous
studies. A review of Rauf Yekta Bey's personal archive which was made available to
researchers, documents in the Prime Ministry's Ottoman Archives, and periodicals
from the era have necessicated the rewriting of Rauf Yekta Bey's biography.
Documents from his personal archive have been used in context for the first time for a
biographical study.
The reconstruction of his biography and the sociological evaluation play an important
part in making sense of his understanding of tradition and identifying his position as
an actor.
It is observed that the seeds of Rauf Yekta Bey's understanding of tradition and his
world of ideas have been sown during his childhood. The biographical narrative
obtained from the archives give us an idea of the environment in which he grew up.
These memoirs give information as to his school, childhood, and cultural surroundings
as well as data to make sense of Rauf Yekta Bey's world of ideas.
Details about his work life in Divan-ı Hümayun until 1922 show that he strived to
continue his production in Turkish music despite challenges while continuing his job.
It is understood from correspondences that his work at Divan-ı Hümayun was very
time consuming and that he tried to continue his research on Turkish music in what
little leisure time he had.
It is observed that even though he had an important position in the discussions on
Eastern and Western music during his employment at Darülelhan and was one of the
most fervent advocates of Turkish music, the experienced process and issues at the
institution have pushed him to applying to the conservatory in Egypt.
It is known that Rauf Yekta Bey assumed a duty on the Classification and
Identification Council and gave concerts at Türk Ocağı after his employment at
Darülelhan. It is also observed that his efforts on writing and copying gained impetus
during the same period. A review of newspapers and periodicals of the era has yielded
details about this particular period in Rauf Yekta Bey's life. Information not available
in previous resources was used in an attempt to shed light on this period in his life.
Information on his participation at the 1932 Cairo Congress which is an important
indicator of international representation and his duties there have also been presented.
Born into a world of Ottoman modernization, raised in a multicultural environment
and a product of Western education, Rauf Yekta Bey started his work Turkish music
with a training on Zekai Dede's Meşk system and the work he has conducted with
Şeyh Ataullah Efendi and Şeyh Celalleddin Efendi has bolstered his rational and
positivist outlook.
Given the discursivity of traditions, Rauf Yekta Bey's ideas on various fields of
Turkish music have been scrutinized through his articles in periodicals as well as his
theoretical work to make sense of his understanding of tradition and to identify his
position between traditions and modernity for the purposes of this thesis study. His
views on the teaching of Turkish music, music theory, historiography, terminology
discussions, the continuity and polyphony of traditions have been extrapolated from
his productions.
Rauf Yekta Bey has played a major role in the transition from oral tradition to written
not just by reviewing studies which came before him and recording the repertoire but
also through his work on theory.
His theoretical works have been published in the "Turkish Music" chapter of the
Encyclopédie de la Musique and the Turkish Music Theory, also known as Gavsiyye,
which he wrote as a textbook at Darülelhan as well as in periodicals. The chapter of
"Turkish Music" which was written under harsh conditions of the era is a publication
aimed at explaining Turkish music history and theory to Westerners. The Turkish
Music chapter is significant both in that it presents a scientific narrative as perceived
in the West and in relation to Rauf Yekta Bey's international representation.
When we examine Rauf Yekta Bey as a composer, we see that he has compositions in
both 'the old and new styles' as he himself puts it. It is observed that very of his
teachings and compositions have been published in various periodicals and yet they
have not been classified and handled in compilation. Various resources echo that Rauf
Yekta Bey had around fifty compositions. Archive studies have uncovered the names
of 40 works and notations of 22 works belonging to Rauf Yekta Bey. Lyrics of three
of the works the notations of which were discovered have been translated from
Ottoman Turkish. The names of two of the works translated have not been encountered
in previous studies. It is observed that he adhered to structural characteristics and use
of makam-usul in styles such as Mevlevi Ayini and kâr. That being said, he was also
a composer open to change in styles such as song and nakış beste and experimented,
in his attempt at anthem and opera, with various makams and went on rhythmic and
structural journeys.
Rauf Yekta Bey is perhaps one of the most important actors in the discussion of
tradition in the Republican period. A review of Rauf Yekta Bey's articles in periodicals
show that his articles before the Republican period focus on biography, theory, and
music history whereas those in the Republican period focus on 'national music'. Rauf
Yekta Bey has penned numerous argumentative articles around the 'national music'
debate with the mission of advocacy of Turkish music. The main goal of these articles
was to be able to position Turkish music in the changing social structure and to ensure
a certain value was attributed thereto. The non-exclusion of Turkish music within the
frame of the Western cultural policies of the Republic, the fact that it can be revised to
adapt to social change but that this should not cause a loss of authenticity are his most
fundamental discourses in these discussions.
He believes that this new tradition imposed from the top down would not fit the
realities of the people and would not find any reception. Supporting his views with
quotes from significant names who have done studies on Western music, Yekta has
both shown his proficiency of Western music literature and attempted to prove that his
ideas were warranted.
It is observed that he had a moderate approach to Atatürk and the revolutions of the
Republic and had no criticism of the politics of the Republican era even though he had
harsh criticisms of individuals. He has established his advocacy of the continuity of
Turkish music on nationalist discourse in the discussions on national music which
found basis in the nationalist rhetoric and assessed this continuity as 'a necessity of
the principles of the republic'.
Raised as an Ottoman intellectual, Rauf Yekta Bey was at a modern and positivist
position with his theoretical works and works on transitioning to written culture in the
late Ottoman era and yet his advocacy of Turkish music tradition in the Republican
period and his views on the polyphony of Turkish music have often led to him being
positioned – by advocates of national music - as 'conservative' and even 'member of
a generation past'. He is remembered in Turkish music circles as part of a third group which would import from European music what it could to give Turkish music `a
modern color' besides one which defended Turkish music with a traditionalist
approach, another which defended European music for either political or cultural
reasons. This thought also shows that he assumed a role of `compounder' with a
modern understanding. He has expressed in his writing a great discomfort at being
remembered as a conservative and defines himself as 'the most liberal servant of our
music'.
Rauf Yekta Bey, while on one hand advocating for and sustaining the traditions of
various fields of Turkish music, did not shape his ideas with a traditionalist point of
view and was able to see that traditions can transform and that their teaching and
performance takes place within the course of life and social process.