Mevlevi ayinlerinin kompozisyon açısından incelenmesi
Analysing of mevlevi ayins (Mevlevi suits) in terms of composition
Yazar: ŞİRİN KARADENİZ
Danışman: DOÇ. DR. NİLGÜN DOĞRUSÖZ
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzikoloji ve Müzik Teorisi Bilim Dalı
Derece: Doktora, 2013
Konu: Müzik = Music

Özet:
Türk Müziğinin en büyük formları içerisinde yer alan Mevlevi ayinleri, Mevlevilerin zikirleri sırasında, semaya eşlik edilmesi için sazın ve sözün bir arada icra edileceği şekilde bestelenmiş eserlerdir. Döneminin konservatuarı görevini üstlenen Mevlevihanelerde yetişen kişiler tarafından vücuda gelen ayinler o ortamda verilen müzik eğitimi, adabı ve bestecilik anlayışı ile ilgili pek çok özellik taşımaktadır ve Türk müziğinin tarihine bakılacak olsa en meşhur bestekârların Mevlevi olduğu görülecektir. 
Bu çalışmada metinlerarası ilişkilerin izi sürülerek ayinlerin müziksel analizi yapılmış ve bu sonuçlar ışığında tümevarım yöntemi ile elde edilen veriler doğrultusunda birbirlerinden kopukmuş gibi duran ayinler arasında mukayeseli olarak ilişki kurulmaya ve bu ilişkilerin belirli soyut modeller içerisinde toplanarak genel kanunlar şeklinde ayin besteleme kriterleri başlığı altında birleştirilmesine çalışılmıştır. 
 Çalışmamız Mevlevi ayinlerinin başında çalınan peşrev, sonunda çalınan son peşrev ve son yürük semai türlerini kapsamamaktadır. 
		Çalışmada ilk olarak Mevlevi ayinlerinin bestelendiği dönemlerin makam ve perde anlayışlarını da ortaya çıkarabilecek makamların bestelenme özellikleri, aynı makam ailesinden olan beste-i kadim dügâh ayin, Nayi Osman Dede?nin çargâh ayini, Bursalı Sadık Efendi?nin bestenigâr ayini ve İsmail Dede?nin saba ayinlerinde makamın bestelenme şekli, edvar kitaplarında yer alan tanımlamalar ve eser örnekleri ile karşılaştırılmış ve makam besteciliğinin hangi dönem anlayışına uyduğu ortaya konmaya çalışılmıştır.
Ayin besteciliğinde dönem özelliği olup olmadığının tespit edilebilmesi için önce farklı yüzyılda bestelenen beste-i kadim dügâh ayin, on yedinci yüzyıldan Nayi Osman Dede?nin çargâh ayini, on sekizinci yüzyıldan Bursalı Sadık Efendi?nin bestenigâr ayini ve on dokuzuncu yüzyıldan İsmail Dede?nin saba ayinleri incelenmiştir. Ayrıca benzer bir bakış açısı ile aynı dönemde bestelenen ayinlerde dönemsel besteleme stili olup olmadığının tespit edilebilmesi adına Bursalı Sadık Efendi?nin bestenigâr ayini, Musahib Seyyid Ahmed Ağa?nın hicaz ayini, Hafız Abdürrahim Şeyda Dede?nin ırak ayini ve III. Selim?in suzidilara ayinleri biçim, melodik tekrar ve usul vezin kullanımı açısından analiz edilmiştir. Son olarak aynı bestecinin farklı ayinlerinde ortak bir besteleme özelliği olup olmadığının tespit edilmesi için Musahib Seyyid Ahmed Ağa?nın hicaz ve nihavend ayinleri ve İsmail Dede?nin saba ve ferahfeza ayinleri incelenmiştir.
Yapılan analizlerin sonucunda elde edilen sonuçlar hem maddeler hem de tablolar halinde sonuç bölümünde sunulmuştur.

Abstract:
ANALYSING OF MEVLEVI AYINS (MEVLEVI SUITS) IN TERMS OF COMPOSITION
SUMMARY
Mevlevi tariqa founded by people having adopted opinions of Mevlana Celaleddin Rumi (1207?1231) has added richness to our culture.  Mevlevi ayins being included in the utmost forms of Turkish Music are pieces composed in a way that stringed instrument and song keep together to accompany heaven during invocations of Mevlevis.  Ayins (mevlevi suits) coming to life by individuals receiving education in Lodges used by Mevlevi Dervishes have several characteristics with respect to music education given in that atmosphere and to music customs and sense of composition. 
In this study, musical analysis of ayins has been carried out by tracing intertextual relations and in the light of these results, relationship has been tried to be established between the ayins sounding as if they were disconnected in line with the information obtained through induction; these relations have been tried to be collected within specific abstract models and to be collected under the title of ayin composing criteria as general acts.  
Forms  of  instrumental music such as peşrev played before and after Mevlevi ayins and yürük semai played after peşrev are one of the most important parts of Mevlevi ayins. However, our study does not include peşrev played in the beginning of  Mevlevi ayins and final peşrev and last yürük semai played at the end of  Mevlevi ayins. Our study does only include the first, the second, the third and the fourth selam. 
 In the study,  publications called Mevlevi Ayinleri published in 1934-1939 by Conservatory Classification and Determination Committee consisting of Rauf Yekta , Zekaizade Hafız Ahmed Irsoy, Ali Rıfat Çağatay, Suphi Ezgi and  Mesut Cemil have been used as source point. Ayin notes examined has been computerised from source notes.  Mus2 program has been used while computerising.  As the notes of rast mode gamut has been accepted as main gamut in Darülelhan notes considered as source notes, segah register gas been considered as natural note and it has been put into use.  While these notes, in which coma b sharp is used instead of Buselik register, are competerised Arel-Ezgi sytem has been used.
  As a result of literature study, no references with regard to Turkish music composition and its techniques have been encountered. In this study in which Mevlevi ayins taking place among the most important and the most traditional examples have been examined, the information of scientific interest about Turkish classical music composition and making composition techniques of this music take place in written sources have been purposed. Thus, it has been purposed that this music is understood better and results obtained are transferred to the next generations through this tradition.  
In this study the questions answers of which are being searched are indicate below: 
1)	Is there any criteria to pay attention while composing ayin? If any what are they?
2)	Is period feature in question in  ayin composition techniques? 
3)	In different ayins of the same composer, are there similar structures such as form, melodic repetition and use of regular rhythm?
4)	Can intertextual relation be mentioned in ayin composition?
5)	How is mode composition in Mevlevi ayins?
 The ayins selected have been investigated through musical analysis methods.  In order to detect tempo rhythym tune, an interdiciplinary study has been carried out through identifying rhythym of selected ayins. Together with the information obtained as a result of the analysis carried out, a general theory has been tried to be reached through induction method. Similarities and differences between ayins have been tried to be identified through comparison method and intertextual relation within ayins have been traced and milestones of ayin composition tradition has been tried to be detected. Statistical data and tones used in ayins have been identified and indicated through pie chart. 
Rules taking place in spelling book set forth by Turkish Language Association have been accepted in writing period.
	Primarily in the study, composition features of ayins to reveal sense of note and register of the periods in which Mevlevi ayins were composed have been compared to composition form of the mode in beste-i kadim dügâh ayin within the same mode family, çargâh ayin of Nayi Osman Dede, bestenigâr ayin of  Bursalı Sadık Efendi and saba ayins of İsmail Dede, to the definitions in musical theory boks and to the examples of piece of work and it has been tried to put forward that for which period understanding, mode composition is suitable. While this study is carried out, the sources having been committed to paper till the century in which selected ayins were composed were evaluated and it was tried to be detected that for which definition(s) in written sources mode use of the ayin was suitable.
In order to identify that whether period feature has been available in ayin composition, beste-i kadim dügâh ayin of the same period, çargâh ayin of Nayi Osman Dede from seventeenth century, bestenigâr ayin of Bursalı Sadık Efendi from eigteenth century, saba ayins of İsmail Dede from nineteenth century have been analysied in terms of form, melodic repetition and tone rhythym use.  
Moreover, in order to determine whether periodical composition style was available in the ayins composed in the same period bestenigâr ayin of  Bursalı Sadık Efendi, hicaz ayin of  Musahib Seyyid Ahmed Ağa, ırak ayin of Hafız Abdürrahim Şeyda Dede, suzidilara ayins of  III. Selim have been analysed in terms of form, melodic repetition and tone rhythym use.  

In conclusion,  in order to determine whether common composition feature is available in different ayins of the same composer, hicaz and nihavend ayins of  Musahib Seyyid Ahmed Ağa and saba and ferahfeza ayins of İsmail Dede have been analysed in terms of form, melodic repetition and tone rhythym use. 
The results obtained as a result of the analyses carried out have been presented as both articles and tables.
In appendix at the end of the study, you can find notes of nine ayins having been examined and glossary.  Notes have been rewritten by remaining faithful to the copies published by İstanbul Conservatory Publication.  In order to make form analyses more clear and epitomise, the information obtained through form analyses on beste-i kadim dügâh ayin has been indicated in this chapter.