Necmi Rıza Ahıskan ve icra örneklerinin müzikal açıdan değerlendirilmesi
Musical evaluation of Necmi Rıza Ahıskan and his performance samples
Yazar: SAİT BERKER SEYMENOĞLU
Danışman: DOÇ. DR. SİNEM ÖZDEMİR GÖÇERİ
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Performans Ana Sanat Dalı / Çalgı-Ses Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Müzik = Music

Özet:
Klasik Türk müziği, yüzyıllar boyunca gelişerek zengin bir kültürel miras oluşturmuş ve bu mirası günümüze taşıyan pek çok önemli sanatçı yetiştirmiştir. Bu sanatçılardan biri olan Necmi Rıza Ahıskan (1914-1994), özgün yorumu ve müzik bilgisiyle klasik Türk müziğinin seçkin solistlerinden biri olarak tanınmaktadır. Ahıskan'ın sanatsal mirası, onun icra ettiği eserlerdeki yorumculuk yeteneği ve teknik becerileri ile dikkate değerdir. Bu tez, Ahıskan'ın müzik yorumculuğunu derinlemesine inceleyerek, onun klasik Türk müziğine katkılarını ve icra tarzını ortaya koymayı amaçlamaktadır.
Tezin amacı, Necmi Rıza Ahıskan'ın müzik kariyeri boyunca seslendirdiği eserlerin analiz edilmesi ve bu eserlerdeki yorumculuk unsurlarının değerlendirilmesidir. Bu bağlamda, Ahıskan'ın hayatı, sanat kariyeri ve müzik icrasına ilişkin bilgiler detaylandırılarak, onun klasik Türk müziği içindeki yerini belirlemek hedeflenmiştir. Ayrıca, klasik Türk müziğinde yorumculuk kavramı ve bunun tarihsel gelişimi üzerine genel bir çerçeve çizilerek, Ahıskan'ın yorumculuğunun bu bağlamdaki önemi vurgulanacaktır.
Tez, beş bölümden oluşmaktadır. İlk bölümde, çalışmanın amacı, literatür taraması ve hipotez sunulmaktadır. İkinci bölümde, Necmi Rıza Ahıskan'ın hayatı ve sanat kariyeri incelenmekte, onun hakkında yazılan süreli yayınlar değerlendirilmektedir. Üçüncü bölümde, klasik Türk müziğinde yorumculuk kavramı ele alınmakta, bu bağlamda tavır, üslup ve ekol gibi terimler ve analiz bölümünde kullanılan süsleme ve nüans elemanları açıklanmaktadır. Dördüncü bölümde, Ahıskan'ın icra ettiği eserlerin analizleri yapılmakta ve beşinci bölümde ise genel değerlendirmeler ile sonuç ve öneriler sunulmaktadır.
Necmi Rıza Ahıskan'ın müzik yorumculuğunu derinlemesine incelemek, sadece onun sanatını daha iyi anlamakla kalmayacak, aynı zamanda klasik Türk müziğinde yorumculuk üzerine yapılacak gelecekteki çalışmalara da ışık tutacaktır. Bu tez, Ahıskan'ın müzik kariyerine ve klasik Türk müziğine yaptığı katkıları daha geniş bir perspektiften değerlendirerek, onun mirasının anlaşılmasına katkı sağlamayı amaçlamaktadır.

Abstract:
This study, conducted as part of the Instrument-Voice Master's Programme in the Department of Performance at the Graduate School of Istanbul Technical University (ITU), provides a comprehensive exploration of the musical style and interpretation of Necmi Rıza Ahıskan, one of the foremost soloists of the Turkish Republican era. The research is meticulously divided into five chapters, each contributing to a holistic understanding of Ahıskan's contributions to classical Turkish music.
Classical Turkish Music has, since its inception, evolved primarily around vocal forms, with instrumental forms created to support these vocal performances. Traditionally, these vocal forms were performed collectively by ensembles of vocalists (hanendes) and instrumentalists (sazendes). With the influence of Westernization movements on Turkish musical life in the early 20th century, the concept of solo performance emerged alongside these traditional ensemble performances. Music, which had been a collective product of the ensemble, transformed into a form where a soloist led, and instrumentalists provided accompaniment. During the early Republican period, apart from the hanendes and notable hafizes, a new understanding of "solo performance" and "interpretation" emerged under the leadership of Münir Nurettin Selçuk. Münir Nurettin Selçuk, who pioneered this new approach, became the first artist to give solo concerts in the Republic's history, thus securing his place as a significant figure in Turkish music. This tradition evolved further, incorporating Western influences in performance style, stage presence, and attire. Necmi Rıza Ahıskan became one of the earliest representatives and principal followers of this innovative approach, making significant contributions that warrant detailed scholarly attention.
The objective of this study is to thoroughly examine Necmi Rıza Ahıskan's interpretation and solo performance, particularly through his performances at Istanbul and Ankara radios. By analyzing these performances, the study aims to reveal his unique style and manner in the execution of classical Turkish music. The analysis focuses on various elements such as makam (musical mode), usul (rhythmic pattern), form, composer, and tuning, providing a nuanced understanding of his musical contributions.
The first chapter of the thesis includes the introduction, encompassing the aim of the thesis, the literature review, and the methodology. This chapter sets the stage for the detailed exploration that follows. The second chapter delves into the life of Necmi Rıza Ahıskan, offering a comprehensive biography that includes his musical education, the institutions he performed with, the venues he graced, the musicians he collaborated with, and the recordings he left behind. This chapter also focuses on the classification of his music recordings, evaluated based on specific criteria such as makam, usul, form, composer, and tuning. It highlights the intricacies of his musical choices and the contexts in which he performed.
During the research process, a wide range of periodicals was reviewed to gather information about Ahıskan's life and musical career. These included prominent newspapers such as Akşam, Bayram, Bugün, Cumhuriyet, Hakikat, Hürriyet, İkdam, İş Yaşamı, Milliyet, Ulus, Renk, Son Havadis, Tasvir-i Efkâr, Tercüman, TV'de 7 Gün, Vakit, and Vatan; and magazines like Çiçek, Hayat, Peri, Radyo, Radyo Alemi, Radyo Haftası, Radyo Magazin, Radyo Postası, Radyonun Sesi, Salon, Ses, Yelpaze, Yıldız, and Resimli Yirminci Asır. These sources provided invaluable insights, enabling the compilation of comprehensive lists of relevant mentions and articles about Ahıskan. This extensive literature review ensured that the study was grounded in a thorough historical context.
This study employs qualitative research methods to examine the life and musical interpretation of Necmi Rıza Ahıskan, one of the prominent soloists of 20th-century classical Turkish music. The research involved both archival work and musical analyses. Periodicals from 1935 onwards were reviewed to gather detailed information about Ahıskan's life and career, accessed through libraries, second-hand bookstores, personal archives, and electronic sources. Additionally, interviews were conducted with Ahıskan's close associates, such as Recep Gedik and Retired Navy Staff Reşit Çağın. These interviews provided firsthand accounts and personal insights that enriched the study. A total of 207 music recordings of 181 different pieces performed by Ahıskan were obtained, categorized by criteria such as composer, lyricist, makam, usul, form, and tuning. Eight representative recordings were selected for detailed performance analysis, transcribed as performed by Ahıskan, and analyzed for his use of embellishments, nuances, metronome settings, and breathing points. This meticulous analysis aimed to capture the essence of Ahıskan's interpretive style and technical mastery.
The thesis aims to conduct a detailed examination of the musical interpretation of Necmi Rıza Ahıskan, who lived between 1914 and 1994 and is considered one of the significant soloists of classical Turkish music. By analyzing Ahıskan's artistic career, the pieces he performed, and the ornamentation techniques and nuances he employed, this study aims to highlight his contributions to classical Turkish music. The analysis of his performances based on makam, form, usul, composer, lyricist, and tuning criteria provides a comprehensive understanding of his interpretive approach and techniques. The study also explores the broader implications of Ahıskan's work for the development of solo performance in Classical Turkish Music, considering the cultural and historical contexts in which he operated.
The research meticulously documents Ahıskan's biography, musical education, institutions he performed with, venues he performed at, musicians he collaborated with, and his recorded performances. The primary aim is to delve deeply into Ahıskan's interpretation of classical Turkish music, exploring his interpretive approach, performance style, and unique nuances. Throughout the research process, Ahıskan's life, musical career, and the pieces he performed were thoroughly analyzed to provide a holistic understanding of his artistic legacy.
Key findings of the study indicate that Ahıskan continued the tradition of his mentor, Münir Nurettin Selçuk, whom he greatly admired and considered his musical guide. Ahıskan's voice and its usage often drew comparisons to Selçuk, reflecting the deep influence of his mentor. Among the analyzed pieces, Ahıskan frequently utilized ornamentation similar to Selçuk, though with distinctive preferences in portamento and glissando techniques. This stylistic continuity and innovation highlight Ahıskan's unique position within the tradition of classical Turkish music.
The study's analysis of periodicals from 1935 to 1950 reveals frequent announcements of Ahıskan's radio programs and concert performances, indicating his active engagement with the public through these media. The 1950s saw a significant increase in interviews and articles about him, reflecting his rising prominence. Post-1966 jubilee news predominantly featured his participation in various events and commemorative ceremonies, underscoring his esteemed status in the music community. This historical overview provides a contextual backdrop for understanding Ahıskan's impact and legacy.
The analysis of his recordings highlights Ahıskan's artistic personality and interpretive skills, reflected in the embellishments and nuances he employed. The study also observes Ahıskan's preferences for specific musical forms, modes, and rhythmic patterns, suggesting his affinity for dynamic pieces and higher-pitched vocal performances. This detailed examination of his technical and stylistic choices offers valuable insights into his contributions to the tradition of classical Turkish music.
In conclusion, the study documents and analyzes Ahıskan's musical legacy, interpretive approach, and unique style in classical Turkish music comprehensively. This research is expected to contribute significantly to the literature on classical Turkish music interpretation, offering new perspectives and insights into the evolution of solo performance in Turkish music. By highlighting the work of Necmi Rıza Ahıskan, the study aims to enrich the understanding of his contributions and ensure that his legacy is preserved and appreciated in the broader context of Turkish musical heritage.