Câzim Efendi - Râif Dede mecmûasındaki Ayîn-i Şerîf nüshalarının incelemesi
An analysis of Ayîn-i Şerif editions in the Cazım Efendi - Raif Dede manuscript
Yazar: EMRE SOYLU
Danışman: PROF. DR. NİLGÜN DOĞRUSÖZ DİŞİAÇIK
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzik Bilimleri Bilim Dalı
Derece: Doktora, 2020
Konu: Müzik = Music
Dizin: Ayin-i Şerif = Ayin-i Şerif ; Cazim Efendi = Cazim Efendi ; Dini tören = Ritual ; Mevlevi ayini = Mevlevi ceremony ; Müzik dergisi = Music magazine ; Raif Dede = Raif Dede ; Türk müziği = Turkish music

Özet:
Manisalı Mehmed Dede adıyla anılan çile çıkarmış bir Mevlevî dervîşinin oğlu olmasından başka hakkında bilgiye ulaşılamayan Mustafâ Câzim el-Mevlevî'nin, Galata Mevlevîhânesi kudûmzenbaşısı Râif Dede'nin okuyuşundan notaya aldığı âyîn-i şerîf nüshalarını içeren 1900 tarihli Arap harfleriyle yazılmış defterde 27 âyîn-i şerîfin notası bulunmaktadır.
Mevlevî Âyînlerinin yazılarak bir araya toplandığı bilinen en eski kaynak olan sözkonusu defterden Avrupa müzik yazısını çok iyi bildiği anlaşılan Mustafâ Câzim el-Mevlevî'nin, âyîn-i şerîfleri yaşadığı dönemde geleneğe en yakın hâlleriyle, hiç değiştirmeden hâfızasında tutan kişi olarak ün salmış Kudûmzenbaşı Afyonkeş Râif Dede'ye okutturup notaya aldığı eserler, Avrupa müzik yazısı ile tek tîzleştirici ve tek pestleştirici işâret kullanılarak yazılmıştır.
Avrupa müzik yazısı ile tek tîzleştirici ve tek pestleştirici işâret kullanılarak yazılan Türk müziği eserlerinde, sesleri ifâde eden notaların birer noktayı değil, dar veya geniş birer frekans bandını ifâde etmesi nedeniyle, kastedilen seslerin doğru olarak tesbît edilmesi ve bugünkü ilgililere doğru olarak gösterilmesi sorunu çalışmanın ana eksenini oluşturmaktadır. Diğer önemli husûslar ise usûl ve mertebeler ile üslûp ve tavır özelliklerinin tesbît edilerek gösterilmesidir. Çalışmada Türk müziği usûllerinin Avrupa müzik yazısına uygulanışı konusu, Câzim Efendi-Râif Dede Mecmûası esâs alınarak incelenmiş, fikir ve öneriler ortaya konmuştur. Ayrıca defterde yazım ile işâret edilen üslûp ve tavır özellikleri ile ilgili ipuçları da incelenmiş, oluşan fikirler paylaşılmıştır. Ayrıca defterdeki âyîn-i şerîf nüshaları, biçim ve güfte yönünden de incelemeye tabi tutulmuştur.  
Çalışma esnâsında gerek görülen durumlarda, defterdeki âyîn-i şerîflerin İstanbul Konservatuarı ve Saadettin Heper tarafından yayınlanmış matbû' nüshalarına; Abdülkâdir Töre ve Muallim İsmâîl Hakkı Bey tarafından yine Batı notasıyla tek tîzleştirici ve tek pestleştirici işâret kullanılarak yazılmış Arap harfli defterlerindeki nüshalarına ve Neyzenbaşı Dede Emîn (Yazıcı) Efendi'nin Hamparsum notasıyla yazdığı âyîn defterindeki nüshalarına başvurulmuş, karşılaştırmalar yapılmıştır.
Bu çalışma sonucunda paylaşılan fikirler sâdece Türk müziğinin en önemli eserleri olan Mevlevî Âyînlerinin söz konusu defterdeki notalarının değil, bu müziğin XX. yüzyıl öncesinde yazılmış tüm notalarının bugünkü sisteme aktarılması ile ilgili bir yaklaşım oluşturma çabasıdır.

Abstract:
There is a little literature about Mustafâ Câzim el-Mevlevî except that he was the son of the Mevlevî dervish, known as Manisalı Mehmed Dede. Mustafâ Câzim el-Mevlevî completed writing a manuscript in Arabic letters in 1900, which contains the notations for 27 Mevlevî Âyîn compositions with Western notation. The first ever person to write Turkish music with Western notation in a genuine way was Wojciech Bobowsky, a Polish convert who was known as Ali Ufkî by the Ottomans and who lived in the 17th century. The genuine method he developed was not used by anyone else. Therefore, arguably, Mustafâ Câzim el-Mevlevî's was the first ever compilation of Turkish music written in Western notation. 
"Mevlevî Âyîn" can be defined as the largest composition form of Turkish classical and religious music. This form was composed to accompany the rituals of the Mevlevî's called "Semâ". Semâ ceremony is a kind of dhikr which is performed by dervishes silently and standing up, as opposed to other kinds of it which may include vocal utterances or done in a sitting position. Semâ is always accompanied by music and has four parts. The music group is called the mutrıp and the ceremony lasts about 45 minutes. Each of the parts are called a selâm. Each selâm has its own mystical meaning and is full of Sufi symbolism. Âyîn, which is the music form composed to accompany this ceremony, is in full congruity with the parts of the dhikr as well as the symbolic meaning inherent in each of them, especially in terms of the musical feeling it creates. Each selâm of the ceremony is performed in the accompaniment if its corresponding selâm of the Âyîn; dervishes whirl while listening to the music and they achieve a transcendental feeling. Lyrics of these parts belong to important Sufi and Mevlevî poets, first and foremost Rumi. 
Traditionally, these compositions are not put into writing, they are taught by the composer to others through performance. In return, those who learned from the composer memorized them, and taught them to their own students in the same way by performance. Therefore, the transmission of these pieces is achieved through a special technique called the meshk, which depends on memorization, and teaching with oral/auditory methods. As far as we can know, musicians started collecting these pieces in manuscripts only in the 19th century. Mustafâ Câzim el-Mevlevî. in his manuscript, wrote Âyîns by listening to Kudûmzenbaşı Afyonkeş Râif Dede, who was the resident lead kudûm player of Galata Mevlevî Lodge. 
This manuscript is known as the oldest compilation of Mevlevî Âyîns. From the first quarter of 19th century, Ottoman Sultans developed an interest in European music. They initiated the teaching of European music in the Palace with the musicians they invited from Europe. As a result of this, the musicians of the palace, in that period, started learning Western music notation. They also composed instrumental music as well as Western style pieces with contemporary Turkish lyrics. This increasing interest in Western music resulted in a decrease in the attention Turkish music received, and the tradition of meshk deteriorated. This must be the reason why there emerged a need to put Turkish music into writing. Thus, in late 19th century they started also to use this notation to transcribe their music. 
We can deduce that Mustafâ Câzim el-Mevlevî was very skilled at writing the Western music notation, because as we go deeper in the manuscript, we observe how he went at great lengths to express the music he heard from Râif Dede in a meticulously detailed way. It would not be too far-fetched to assume that he was trained in the Ottoman royal music school, Mızıka-yı Humâyûn, within the palace which taught Western music. 
Râif Dede was educated through meshk system. Meshk, as mentioned previously, was the common education system which depended on a one-on-one (from the master to the student) transmission of musical pieces and the structures of makams and usûls. It is important to emphasize once more that, no written or notated music is used in the meshk system, it depends entirely on auditory-oral training techniques. Therefore, some changes are inevitable due to this auditory-oral nature of meshk. Naturally, when a musician learns a piece through meshk and memorizes it, later, when teaching, he allows the understanding and feeling of that time and place seep into it. Certainly enough, some other changes may occur because of forgetting or not remembering correctly as well. That's why most of the compositions disappeared or changed in time. It is possible to encounter different and more or less modified versions of the very same composition in different sources. But in meshk system those changes are not considered as deformations, but rather are embraced as cultural wealth. Râif Dede, on the other hand, earned a reputation not only for keeping the Âyîns in his memory exactly as he learned from his masters, but also for transferring them to his students without making any changes in them. 
Râif Dede's impeccably faithful memory and his concern for conserving the tradition, coming together with Mustafâ Câzim el-Mevlevî's skills in music notation and his perfectionism, makes this manuscript uniquely important. Mustafâ Câzim el-Mevlevî wrote down in Western notation 26 of those Âyîns as he heard them from Râif Dede, and he completed his manuscript by adding one more Âyîn composition of his own. To the best of our knowledge, this composition is the first Âyîn-i Şerîf which was written by its own composer that remains today. Despite it was written down by its composer, even this composition underwent some changes over time while being taught through meshk. It is possible to observe these changes in its other editions in the manuscripts written by Abdülkâdir Töre and İsmâil Hakkı Bey. There is almost a quarter century gap between the dates of those two manuscripts and Mustafâ Câzim el-Mevlevî's. This is quite an interesting case to uncover how a musical piece may change in quite a short time period on the path of meshk. This is the main reason why this study consulted aforementioned other transcriptions. 
In traditional Turkish music system, sounds shown by the notes describe narrow or broad frequency bands, but not a pitch. The notation system created by Arel Ezgi Uzdilek, which is also known as AEU by the abbreviation of his full name, has been used for writing down classical Turkish music pieces since the second quarter of 20th century. In this system, a whole music step is divided into nine equal portions, and first, fourth, fifth and eighth pitches are denoted with sharps and flats with varying microtones. Therefore, this system uses microtones of Turkish music, in addition to whole and semi tones of Western music; and the sounds shown by notes are accepted as pitches. The main aim of this study is to determine the implied points within shown frequency bands depending on makam melodies denoted by the notes in the manuscript, and to write their equivalents in AEU system with explanatory annotation. Such explanation is required, because the pitches of AEU system that correspond to the notes in writing are insufficient. This is primarily due to the fact that the pitch in Turkish music is not stable, and the sounds might become higher or lower depending on the melody. 
 There are two other Mevlevî Âyîn compilation manuscripts by Abdülkâdir Töre and Muallim İsmâîl Hakkı Bey, which were also written in Arabic letters and using Western music notation and two accidentals. One other compilation is the one written by Neyzenbaşı Dede Emîn (Yazıcı) Efendi. This one is also in Arabic letters, but, differently from the others, it uses Hamparsum notation.  And finally, there are two printed compilations of İstanbul Conservatory and Saadettin Heper. All relevant compilations were used for comparisons whenever needed. 
The ideas shared and imparted as results of this study can be seen as an attempt not only to transfer the notations of Mevlevî Âyîns found in Mustafâ Câzim el-Mevlevî's manuscript to the present system, but also, and perhaps more importantly, to create a method for transferring all the repertoire of this music written before 20th century.