Bektaşi erkanında nefesler /
Yazar: LALE UMUL (AKAY)
Danışman: DOÇ. YALÇIN TURA
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü
Derece: Sanatta Yeterlik, 1994
Konu: Güzel Sanatlar = Fine Arts ; Müzik = Music
Dizin: Bektaşi müziği = Bektaşi music ; Bektaşilik = Bektashism ; Nefes = Breath ; Türk müziği = Turkish music

Özet:
ÖZET Hacı Bektaş Velî, Bektaşîlik ve Bektaşî Erkânında Ne feslerin araştırıldığı bu çalışmada, konu üç ana başlıkta top lanarak incelendi. İlk bölümde Hacı Bektaş Velî'ni hayatı, yaşadığı dö nem, mücerret olup-olmaması, yeniçerilik meselesi, O'nun or taya koyduğu ve 0*na ithaf edilen eserler, düşünce yapısı, felsefî görüşleri ve bâtınî olup-olmaması gibi meseleler a- raştırılıp incelendi. İkinci bölümde, Bektaşîlik hakkında bilgiler ortaya konuldu. Bu bölümde evvelâ Şiilik, Alevîlik, Bektaşîlik gibi birbirine karıştırılan kavramlar hakkında bilgi verildikten sonra; Bektaşî Tarihinin Dönemleri, organizasyonları ve özel likle Erkân ve Âdetleri üzerine bir çalışma yapıldı. Üçüncü bölümde ise, Bektaşî Erkânında Mûsikî konusu na girildi. Bu bölümde, özellikle Bektaşî âyin törenleri için de büyük yeri ve önemi olan Bektaşî Nefesleri incelendi. Bek taşî Nefeslerine genel bir bakış yapılan giriş bölümünün ar dından, bugün elimizde toplu halde nefeslerin bulunduğu önem li bir belge niteliği taşıyan, 1933 senesinde istanbul Belediye Konservatuarı tarafından iki cilt halinde neşredilen ve 87 nefesten oluşan "İstanbul Konservatuarı Bektaşî Nefesleri Kol- leksiyonu" ndaki bütün nefesler incelendi. İlk önce listesi verilen bu nefesler sırasıjia; güfte, form, makam ve melodi yapısı ve usûl ğ'i'b'f özellikleri ; gözonünde bulundurularak in celendi, düşünülenler sonuç bölümünde söylendi. - V -

Abstract:
SUMMARY In the following work the nefes genre In the Bektashx liturgy is presented. The subject can be grouped under three main headlines. In thd first part matter as; historical character of Haji Bektash, his life, the period in which he lived, whether he was married or a bachelor, the yeniçeri pheno menon- the artworks and works of other people which are dedicated to him, his character, his philosophical views and whether his and his followers' activities were esoteri- cal were studied. In the following second part, certain information about the Bektashi order was given. First information is given about certain concepts like shi'ite, Alevi, Bektashi which are commonly mistaken for each other. Varios eras in the history of the Bektashi, their parterus of organiza tions. And finally the liturgy and traditions are intro duced. Finally in the third part, music in Bektashi litur gy was introduced. The nefes genre has a special place and importance in Bektashi rituals. was studied. After a general outlook on Bektashi nefes, a collection of 87 nefes-s conta ined in a two volumes publication of Istanbul Municipal Conservatory (1933) were analyzed. - VI -After listing all the nefes, lyrics, forms, mode and melodical structure, the rhytm of one was analyzed, comments were stated in the end. It has been very hard to reach concrete facts, conclusions on Bektashis', The Bektashi's did not conduct their services in public. Although in the beginning, this sect had a philosophy parallel to Islamic law, afterwards they separated from these and obtained a secretive entity as if converting into a different belief system. Although lots of research has been done on the subject, Bektashi belief which has been one of the most powerful belief systems and in some sense a political influence, still has retained its secrecy up to this time to a great extent. If one would look into lots of research done by historians and scholars, it would be easily abserved that the subject has not been clarifield yet. When the resour ces concerning the Bektashi belief and Haji Bektashi Veli are studied, lots of works containing various stories and rumors can be found. On the other side, one could obtain certain objective studies containing scientific evidences. The reason of the differing views is not only because the subject is hard or the sources are inadequate, but there has been a controversy regarding the main concept. This controversy has been the main reason of the - VII -secrecy which still clouds certain facts regarding the Bektashi view. As a result of hhis lots of misleading and false views on Haji Bektashi Veli's personality and on the Bektashi sect emerged thus blocking the path to a healthy conclusion. The main reason underlying the discrepancy of views can be deducted to some circles' trying to introduce Is lamic rules as basic rules of Bektashi views. Sünni §>h.i ite were the forerunners of this controversy. As a result of this, Bektashi view was either viewed as an Islamic sect or as a clan which inhibits non- Moslem character or has foreign belief motives ebbedded within. Authorities on this subject have surprisingly only accepted one view as the truth and have reached conclusions on the Bektashi clan an Haji Bektashe Veli based on those assumptions. In the light of these facts it is hard to state that the sources on Bektashi clan and Haji Bektashi Veli are unbiased. In the first two sections, maximum objectivity was retained by utilising strong research methods. Be cause of this, both views were considered and were some times compared to each other and at other times concepts of each view was justified or proven wrong. In this about "Bektashi Liturgy Nefes " before introducing the nefes', the main reasons, enviroment for the emergence of such music was analyzed. Due to this, in the second part special emphasis was given an Bektashi Liturgy and traditions. Before going into "Gem" services and "İkrar" services in which Nefes which are liturgic forms are recited; Bektashi degrees and the liturgies - VIII -associated whith them are analyzed. In the cases where some liturgies and traditions are not clear, certain authorities views, documents resources on the subject were utilised. In order become "Muhip" or Dervish in Bektashi school, special ceremonies were required. These ceremo nies are covered in great detail in this thesis. There was a feast following the ceremony where music was played, songs were sung. Nefes-s were cited. After the details of this unique ceremony the final part of the thesis starts. in the final part of the thesis, first general information about hefes was given, afterwards nefes were analyzed in detail. "The Collection of Bektashi nefes-s" containing 87 nefes -s which has been organized by Istanbul Municipal Conservatory in 1933 under the supervision of Rauf Yekta was selected and analyzed in detial. It was stated that no previous studies were made on these tıef es ' which belonged to the third period, and the publication did not go futher than being a repertoire. Nefes-s in this publication were studied one by one in order to give detailed information on iPefes "mode", melodical structure, form, time, lyrics. While analyzing some of the publications of the Istanbul Municipal Conservatory on lyrics of nefes, some faulty grouping structures were observed. In ordier to analyze the lyrics especially from the "rhyme" point view properly, the faulty lyrics were corrected. The nefes-3 were mostly composed accordance to the "syllable rhyme", no "free rhyme" was observed, although - IX -surprisingly "Aruz structure" was utilised. Main subject of the lyrics was the love of God, Mohammed and Ali and common language was used. When the nefes-s were observed on a structural point of view it became clear that they had single part (A) structure. Main melody was repeated constantly, lyrics were quite long, thus it can be deducted that lyrics had main importance in nefes. As a result of this one can say that big forms were not introduced to nefes'. While analyzing nefes-s from the point of view of mode and melodical structure, it was observed that no specific mode was preferred although Ussak and Hüseyni modes were used mostly. In the works, the modes were applied strictly even transtitions were avoided, and only 4-5 sounds were utilised. When nefes-s are observed from the timing point of view it was observed thet Duyek and Sofyan times are used mostly. It was deducted that in order to obtain some "Zikir" type, these timings were favored. Of the n.efes-s which were studied only three had identified composers, the others were anonymous. As a result it was deducted that nefes just like Turkish public music are common property. X -