Türk müziğinde perde/çeşni dönüşümlerini keşfetmek: 15. yüzyıldan 20. yüzyıla örnek çalışmalar
Exploring perde/çeşni transformations in Turkish music: Case studies from 15th to 20th century
Yazar: MUHAMMED ZÜLFÜ YALÇIN
Danışman: PROF. DR. OZAN BAYSAL
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzik Teorisi ve Kompozisyon Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Müzik = Music

Özet:
Bu araştırma, Türk müziğindeki çeşniler arasındaki ilişki ağını analiz etmeyi ve anlamayı amaçlayarak müzikal yapıların evrimine dair teorik bir çerçeve sunmayı hedeflemektedir. Bu kapsamda, 15. yüzyıldan 20. yüzyıla kadar olan süreçte  seçilmiş örnek eserler üzerinden çeşni dönüşüm modelleri ve bu dönüşümlerin çeşitli alt grupları ile kapsamlı bir analiz gerçekleştirilmektedir. Bu analizlerde, Ozan Baysal'ın 2023 yılında "Ahenk İlişkiler Ağı ile Makam Evrenini Haritalandırmak" başlıklı sunumunda tanımladığı çeşni dönüşüm modelleri esas alınmıştır. Çeşniler arasında dönüşümlerin hangi yol ve yöntemlerle gerçekleştiğine dair elde edilen sonuçlar Türk müziği kompozisyonunda farklı bakış açılarının geliştirilmesine katkı sağlayacaktır.
Araştırmanın ilk bölümü, çalışmanın amacını ve önemini vurgulamakta; aynı zamanda çalışmada kullanılan müzikal öğeler detaylı bir şekilde tanımlamaktadır. Bu bölümde, araştırma konusuyla ilgili kapsamlı bir literatür taraması gerçekleştirilerek, araştırma alanında yapılacak katkılara vurgu yapılmıştır. Ayrıca, bu bölümde, çalışmanın temelini oluşturan analiz yöntemleri detaylı bir biçimde açıklanmaktadır. Buna ek olarak, Kâr ve Kâr-ı Natık formlarına ilişkin bilgilerle birlikte bestecilere ait biyografik detaylar sunulmaktadır. 
Çalışmanın ikinci bölümü, eser analizlerini içermektedir. 15. yüzyıldan günümüze kadar farklı dönemlerde yaşamış Türk müziğinin önde gelen bestekârlarından Abdulkadir Merâgi, Buhûrîzâde Mustafa Itrî, Hâfız Şeydâ, Hammâmîzâde İsmâil Dede Efendi, Zekai Dede Efendi ve Cinuçen Tanrıkorur'un eserleri üzerine bir analiz sunulmuş, özellikle adı geçen bestecilerin Kâr ve Kâr-ı Natık formlarında eserlerinin melodik seyirleri içerisindeki Perde/Çeşni dönüşümlerine odaklanılmıştır. Çeşni dönüşümlerinin sistematik bir analiziyle, ilerleme süreci kapsamlı bir şekilde incelenmektedir. Seçilen eserlerden alınan örnek bölümler üzerinden dönüşüm türlerinin analizi yapılmakta ve çeşni yapıları arasındaki ilişkiler detaylı bir şekilde incelenmektedir. Ayrıca, dönüşüm teknikleriyle ilgili dikkat çeken detaylar analizlerde vurgulanmaktadır. Çeşni dönüşümlerinin zaman içindeki evrimi ve şekillenmesi, grafiksel gösterimler yardımıyla somut bir biçimde aktarılarak müzikal yapıların görsel anlaşılabilirliği artırılmaktadır.
Son bölümde ise elde edilen bulgular ayrıntılı bir şekilde değerlendirilirken farklı tip çeşni dönüşümlerinin Türk müziği kompozisyon çalışmaları üzerindeki işlevselliği tartışılmıştır. Tüm bu analizlerden elde edilen sonuçlara göre Kâr formunda bir beste çalışması yapılarak analiz sonuçları ile uyumu irdelenmiştir. Araştırmadan elde edilen bulgular ışığında tarihsel olarak dönüşüm modellerinin kullanımı, çeşni dönüşümlerinin beste çalışmalarına katkıları ve besteciler arasındaki etkileşimler sonuç bölümünde etraflıca ortaya konulmaktadır. Türk müziği içerisinde metodolojik olarak alternatif besteleme tekniklerinin geliştirilmesine dair öneri ve tespitlere yer verilmekte; müziksel kompozisyon alanında ileriye dönük araştırmalarla yenilikçi keşiflerin teşvik edilmesinin önemine dikkat çekilmektedir.

Abstract:
This study aims to analyze and understand the network of relationships between Turkish music by examining its çeşnis in depth. In this context, it aims to provide a theoretical framework for understanding the evolution of Turkish music from its deep-rooted past to the present. The period under study covers a wide time span from the 15th century to the 20th century. Through a detailed analysis of selected exemplary works from these periods, an in-depth investigation is conducted into the patterns of çeşni and the çeşnis subgroups of these transformations. The insights gained from the detailed examination of methodologies for establishing connections between çeşnis and realizing transformations make significant contributions to the development of alternative compositional techniques in the field of Turkish music. These studies enable the exploration of new approaches to compositional research.
In Turkish music, the smallest melodic unit, often referred to as the "çeşni", holds significant prominence. Çeşnis, which are translated as 'flavor' in English, consist of the melodic progression of pitches ranging from three to five in Turkish music. These Perde/Çeşni structures come together in various combinations to form different makam structures. Therefore, a makam can be understood as a sequence of Perde/Çeşni structures. Furthermore, the transitions between makams are distinctly realized through common Perde/Çeşni  transformations.
This research will focus on the works of composers who have left important traces on the Turkish music scene from the 15th century to the present day. These composers include names such as Abdulkadir Merâgi, Buhûrîzâde Mustafa Itrî, Hâfız Şeydâ, Hammâmîzâde İsmâil Dede Efendi, Zekai Dede Efendi and Cinuçen Tanrıkorur. The study will focus particularly on the Perde/Çeşni transformations that appear in the melodic progression of the Kâr and Kâr-ı Natık works of the aforementioned composers, and through the analysis of these transformations, it will provide an in-depth look at the history and structural characteristics of Turkish music. This analytical approach will be an important step in understanding the unique contributions of specific works and composers. Furthermore, this study will shed light on the development and evolution of Turkish music and is intended to contribute to music theory and history.
The analyses in this study are based on the çeşni transformation models defined by Ozan Baysal in his presentation titled "Mapping the Makam Universe through the Web of Harmonic Relations" in 2023. In this way, it is aimed both to provide a theoretical framework for the network of relationships between çeşnis and to observe the periodical development of these relationships. In this research, particular çeşni transformation models such as "Intraconnected", "Transference" and "Pitch axis transformation" are emphasized. Understanding the evolution of these models in Turkish music is extremely important in terms of grasping how musical structures are shaped and changed. The findings provide an in-depth insight into the ways and methods through which transformations between çeşnis take place. The results of these analyses will make a significant contribution to the development of new perspectives in Turkish music composition. By providing a solid foundation for understanding and interpreting the evolution of musical structures, it will help to explore and understand Turkish musical heritage in greater depth. This in turn will shed light on future studies in the field of Turkish music and open the door to new discoveries.
The first part of the study includes a detailed definition of the concepts used as well as emphasizing the main purpose of the study and the importance of this purpose. In this context, a comprehensive review of the relevant literature is conducted to identify the gaps and gaps in the field of the topic addressed by the study. Furthermore, this chapter explains in detail the main methods of analysis on which the study is based and discusses in detail the reasons for their selection and their application in the analysis process. In addition, the context and basis of the research is explained more comprehensively by presenting information about the Kâr and Kâr-ı Natık forms, as well as biographical details of the well-known composers of these forms. By establishing the overall structural foundation of the research, this chapter provides the reader with a more solid understanding of the analyses that will be discussed in the following sections of the study.
The second part of the study is mainly devoted to the analysis of the works, and within the framework of these analyses, it is aimed to systematically examine çeşni transformations and to discuss the development process in detail. A detailed analysis of the types of çeşni transformations is carried out based on excerpts from selected sample works, and through these analyses, the relationships between çeşni structures are examined in depth. In addition, prominent details about the transformation techniques are carefully emphasized and an understanding of how these techniques are used is developed. The evolution and shaping of çeşni transformations over time are concretely conveyed with the help of graphical representations and other analytical tools, enhancing the visual comprehensibility of musical structures. This chapter constitutes the main analytical part of the study and provides a more in-depth look at the evolution and structural complexity of Turkish music through a detailed analysis of çeşni transformations. Furthermore, these analyses provide a basis for exploring and understanding different aspects of Turkish music composition, revealing important findings that can inspire future research.
The final chapter presents a comprehensive evaluation of the findings and discusses in detail the functionality of çeşni transformation techniques on Turkish music compositional works. The analyzed works show that the çeşnis are directly or indirectly related to each other and that the makams are not independent from each other. From this point of view, details such as the establishment of connections between çeşnis and the ways and methods by which transformations can be realized have been revealed through the analyzes. According to the results obtained from all these analyzes, a composition in the form of Kâr was made and its compatibility with the analysis results was examined. In the light of the findings obtained from the research, the historical use of transformation models, the contribution of çeşni transformations to compositional works and the interactions between composers are discussed in detail in the conclusion section. The importance of developing alternative composition methodologies within Turkish music is emphasized, and the necessity of encouraging forward-looking research and innovative discoveries in the field of musical composition is emphasized. This chapter emphasizes the overall significance of the research and the contribution of its findings to music theory and practice and inspires future research.
This study presents a highly innovative and significant contribution to the field of Turkish music. The in-depth analysis of çeşni transformations and the understanding of their evolution over time are of great importance for music theory and composition practices. Examining the works of composers from different periods within the rich historical and cultural context of Turkish music helps us better grasp the structural and aesthetic characteristics of the music. In this context, the results of the research directly contribute to Turkish music education and composition studies.
Another important contribution of the research is its proposals for the development of alternative composition techniques. The analysis of çeşni transformations allows composers to discover new melodic structures. Understanding the historical development of these techniques can enable modern composers to use these traditional structures innovatively. Thus, both the heritage of traditional Turkish music is preserved, and this heritage is blended with modern musical understanding to pave the way for the creation of new works.
This study also has great potential as an academic and educational resource. The detailed analysis of çeşni transformations and makam relationships provides valuable information for music theory students and researchers. Furthermore, supporting these analyses with graphical representations makes musical structures more understandable and concrete. This promotes the integration of visual and analytical learning methods in the field of music education.
The results of the study offer a series of suggestions for future research. Firstly, examining a broader range of works from different periods and composers can help create a more comprehensive map of çeşni transformations. Additionally, the methodology of this study can be applied to other music genres and cultures, opening new research pathways in comparative musicology. Comparative studies on the similarities and differences between Turkish music and other musical traditions can provide a broader perspective on music theory and history.
This research not only provides a theoretical framework but also offers practical applications for performance artists. The study of çeşni transformations can enable performers to gain a deeper understanding of the works and make more informed choices in their performances. This can be a valuable resource, particularly in the performance of classical Turkish music, for enhancing interpretation and improvisation skills.
In conclusion, this research provides a solid theoretical framework for understanding the diversity and transformations of Turkish music and makes significant contributions to the body of knowledge in this field. The findings of the study not only offer a historical and theoretical perspective but also serve as an inspiration for modern composers, opening new horizons for music education and academic studies. Future research building upon the findings of this study to conduct broader and more in-depth examinations will further enrich the understanding and practices of Turkish music.