Mehmet Reşat Aysu'nun müzikal kimliği ve seçilen saz eserlerinin keman tekniği açısından incelenmesi
Mehmet Reşat Aysu's musical identity and analysis of selected instrumental works in terms of violin technique
Yazar: EREN CEMRE ERDEN
Danışman: PROF. DR. ALİ CİHAT AŞKIN
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Performans Ana Sanat Dalı / Çalgı-Ses Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Müzik = Music

Özet:
Mehmet Reşat Aysu; yalnızca makamın kurallarını ve özelliklerini gösteren değil, çalgının teknik zorluklarını da gösterecek düzeyde saz eserleri yazmıştır. Aysu'nun bestecilik anlayışı sadece melodik eserler üretmek üzerine değildir. Onun eserleri, müzikalitenin yanı sıra icracıyı teknik açıdan zorlayan ve gelişimine katkıda bulunan saz eserleridir. Bu eserler Aysu'nun çok kültürlü kimliğinin ve geniş bakış açısının ürünüdür. 
Bu araştırma; ülkemizin kıymetli değeri, Klasik Türk Müziği'nin makamlarını ve Klasik Batı Müziği'nin müzikal anlayışını kendi bestelerinde harmanlayan kemâni bestekâr Mehmet Reşat Aysu'nun saz eserlerinin incelenmesi, bu eserlerin keman ile icrasında kullanılacak olan teknik ve yöntemlerin belirlenmesi amacıyla yapılmıştır. Dolayısıyla bu çalışma; Mehmet Reşat Aysu'nun yaşamını, müzikal kimliğini, örnek olarak seçilen eserlerin makamsal, müzikal ve keman tekniği açısından analizlerini içermektedir. Kemanda sağ ve sol el teknikleri açısından değerlendirilerek kullanılması gereken pozisyon ve yaylar belirlenip, yay tekniklerinin nasıl kullanılması gerektiği açıklanmıştır. Bestecinin iki müzik anlayışını birleştirdiği yerler, notalar incelenerek aktarılmıştır. Aynı zamanda bestecinin tüm saz eserleri tarihleriyle birlikte listelenmiş, ulaşılabilen notaları da çalışmanın sonuna eklenmiştir. Bu çalışmada, incelemesi yapılan eserlerin gelecek kuşaklarda doğru keman tekniği ve doğru parmak numaraları ile icra edilmesi hedeflenmiştir.
Araştırma; literatürün taranması, biyografik bilgilere ulaşılması, makamsal ve teknik incelemenin yapılması sonucu ortaya çıkan durumların açıklanmasını içermesi sebebiyle yöntem bakımından betimleyci ve açıklayıcı bir araştırmadır. Araştırmadaki veriler kaynak taraması, doküman/kayıt incelemesi yöntemleri ile elde edilmiştir.  Bestekarın yaşam öyküsü, eğitimi, müzikal geçmişi ve müzik anlayışı bugüne kadar yazılmış olan tezler, makaleler, kitaplar ve bestecinin kendi yazmış olduğu kaynaklarda bulunan otobiyografiler incelenerek aktarılmıştır. Bestekara ait olan saz eserlerinin notaları çeşitli kaynaklar, tezler, makaleler, müzik arşivleri taranarak araştırılmış ve seçmiş olduğum farklı formlara ait dört adet saz eserinin analizi yapılmıştır.
Çalışmada Aysu'nun saz eserlerinin formal ve makamsal olarak klasik saz eseri anlayışına uygun olup olmadığı, Aysu'nun saz eserlerinde kullandığı müzikal - teknik ifadelerin keman ile nasıl icra edilmesi gerektiği ve bu eserlerin "keman" baz alınarak değerlendirildiğinde çalgının teknik gelişimine katkı sağlayıp sağlamadığı gibi problemler değerlendirilmiştir.

Abstract:
This research was carried out with the aim of examining the instrumental works of Mehmet Reşat Aysu, a valuable violinist of our country, who blended the modes of Classical Turkish Music and the musical understanding of Western Classical Music in his own compositions, and to determine the techniques and methods to be used in the performance of these works with the violin. Therefore, this study includes the life of Reşat Aysu, his musical identity, and the analysis of selected works in terms of mode, musicality and violin technique.
All types of music are a different cultural heritage. Interaction between music is a way to preserve this heritage and an opportunity to strengthen the universal language. The fact that composers use elements commonly used in Western music in terms of writing techniques does not change the culture of Classical Turkish Music. On the contrary, the chords, arpeggios and partitions used by composers and seen in Western music add musical richness. Each type of music carries its own forms of expression and aesthetic values. Composers decide which elements are appropriate for their own music. This does not mean covering up or ignoring a culture. The fact that composers use certain elements from Western music actually paves the way for enriching that music with different world scales.
Mehmet Reşat Aysu wrote instrumental works that not only show the rules and features of the maqam but also show the technical difficulties of the instrument. Aysu's understanding of composition is not only about producing melodic works. In addition to their musicality, they are instrumental pieces that challenge the performer technically and contribute to their development. These works are the product of Aysu's multicultural identity and broad perspective.
Mehmet Reşat Aysu, as a composer with a modern understanding of Classical Turkish Music, has used different techniques in his works and included difficult passages. When these works are performed with the violin, questions such as the tuning order, which positions should be used, how to use the bow, whether or not it can be performed with the violin if there are double voices or chords arise. For this reason, some sub-problems have been determined. As a result of the identified problems, sub-problems such as whether Aysu's instrumental works are formally and modally compatible with the classical instrumental work concept, how the musical-technical expressions used in Aysu's instrumental works should be performed on the violin, and whether these works contribute to the technical development of the instrument when evaluated on the basis of "violin" arise. 
The importance of this research is revealed by the fact that the selected works include works that have not been previously analyzed in terms of modal analysis in any study, that none of the selected works have been evaluated in terms of violin techniques, that there are no recordings of Hicaz Peşrev and Şedaraban Saz Semaisi, and that Nihavend Saz Semaisi, despite being one of the most performed works of the composer, has not been performed with the violin using all double voices and chords.
The research is a descriptive and explanatory research in terms of method, as it includes the scanning of literature, accessing biographical information, and the explanation of the situations that emerged as a result of the modal and technical examination. The data in the research were obtained by the methods of source scanning and document/record examination. The life story, education, musical background and musical understanding of the composer were conveyed by examining the theses, articles, books written to date and the autobiographies found in the sources written by the composer himself. The notes of the instrumental works belonging to the composer were researched by scanning various sources, theses, articles and music archives, and the analysis of four instrumental works belonging to different forms that I selected was made.
The instrumental pieces I have chosen for analysis are:
1. Hicaz Pesrev
2. Sultaniyegah Sirto
3. Nihavend Saz Semaisi
4. Sedaraban Saz Semaisi
It has been taken into consideration that the selected works have different forms and that the ones in the same form have different characteristics. Hicaz Peşrev has not been performed on any CD, cassette or recorded platform to date. There is no recording of Şedaraban Saz Semaisi either, and its makam analysis has not been done in published theses, articles and studies. Sultaniyegah Sirto is a more well-known and performed work of Aysu compared to other works. However, its makam analysis has not been done and it is the only example of the sirto form among Aysu's works. Although Nihavend Saz Semaisi is in the saz semaisi form like the Şedaraban work, it has great differences in musical terms. The use of chords and intervals is quite intense in this work and progresses harmonically. None of the selected works have been analyzed in terms of violin technique in any other study other than this thesis study. The composer's instrumental works were examined one by one and those to be evaluated for violin technique were selected. While making the selection, suitability for violin performance, the ability to play the written intervals and chords on the violin alone, the variety of positions and bow shapes, the forms and modes of the works were taken into consideration.
It is seen with the works examined and analyzed that the composer's instrumental works contain a great variety. It has been concluded that all his works contain different elements and that many musical understandings are adopted and blended. Forms frequently used in Classical Turkish Music are also noticeable in the composer's works. He has processed and enriched traditional instrumental forms such as saz semaisi, sirto, peşrev with a contemporary approach.
Every ornamentation, dynamic and technical notation that Reşat Aysu, who is not only a composer but also a good violinist, wanted to be played in his works is shown. In Western music, a piece is technically performed similarly in each performance because the composer wrote it that way. The piece is performed by adhering to every sign and detail on the score. Reşat Aysu has already adopted and internalized this understanding to such an extent that we can clearly see it in his works. He specified how he wanted the tempo of the works to be and showed the nuances under the staff. He wrote expressions such as accent, staccato and legato. There are instrumental works that contain only monophonic  from beginning to end, as well as works that he occasionally enriches harmonically, and even works that proceed polyphonically with chords and arpeggios from beginning to end. In addition to his music, where he indicates on the notes which instrument he wants to play that part, even if it is monophonic, he also has music for which he wrote scores. All of these works were composed in the makams of our traditional music. 
In addition to being a composer, he is also a violinist and his works are at a level that will help him develop his violin technique, so he is a subject of study. In order to play the chords and double notes in the compositions easily, the "g d a e" tuning system was used throughout the analysis. When Mehmet Reşat Aysu's Hicaz Peşrev, Sultaniyegah Sirto, Nihavend Saz Semaisi and Şedaraban Saz Semaisi works were examined, it was seen that detache, legato, spiccato, staccato, martele, pizzicato techniques and double voice - chord were used While he composed compositions that show the modal features in a completely classical style and that comply with the formal characteristics of Classical Turkish Music, there are also compositions that he made to develop the instrument technically as well as modal and musical aesthetics. Although the subtle expression in his works is an important part of his musical identity, technical difficulties are more prominent in some of his works. Some of these works can be considered as an etude because they contain skipping sounds, arpeggios, and passages that need to be played quickly. When evaluated in terms of rhythm patterns, tempo of the work, string transitions and use of bow, these works require careful and detailed study.
The composer's instrumental works, which were examined in terms of musicality and violin technique, were not written for the violin. For this reason, various bow strings and positions have been added to these works by me. The reason for this is to make playing the violin more comfortable and to be able to perform the techniques better. While determining the recommended position and bow strings to be used, it was taken into consideration not to go beyond the composer's musical understanding. The positions and bows that should be used in violin are evaluated in terms of right and left hand techniques, and how the bow techniques should be used is explained. The places where the composer combined two musical concepts were conveyed by examining the notation. At the same time, all the composer's works are listed with their dates, and the accessible notes are added at the end of the study. The goal of this research is to ensure that the examined works are performed in future generations with correct violin technique and interpretations.
Aysu's musical diversity and inclusiveness, which aims to create a different depth in his works and add color to his music, also encourages future generations to have an original form of expression. Diversity and equality in the music scene should be a perspective supported all over the world. In a system where musical discrimination continues even today in educational institutions and on stages, Reşat Aysu's high level of culture and courage in his understanding of composition should be an example for all musicians.