Author
Benlioğlu, Selman
Publication Place
Hits University -
Hits University
Subject
Hittite Journal of Theology, 2024-12, Vol.23 (2), p.809-841
Type
Book
Language
ara,eng,tur
Digital
Yes
Manuscript
No
Library
Leitir Library
Library Asset ID
ISSN: 2757-6949, EISSN: 2757-6949, DOI: 10.14395/hid.1511783
Record ID
cdi_doaj_primary_oai_doaj_org_article_11d4b262d68c4c70a0ef4303b2473827
Library Location
DOAJ Directory of Open Access Journals
Notes
Kanuni and composer Cüneyt Kosal (1931-2018) created one of the largest archives of Turkish music by collecting a large number of notes throughout his long and productive career, and wrote many notes by arranging or compiling old notes. In the notes he wrote, in addition to standard data such as mode, tempo, form, composition and lyrics, he recorded information notes on subjects such as the date and place where the note was written, the date of composition of the work, the person who compiled the work, its origin if it was transferred from recorded material such as tape or cassette, written sources used for the composition or lyrics, if any, melody, lyric placement or corrections in the rhythm, the person to whom the composition was dedicated and various anecdotes about the work. In this study, the notes containing various explanations in the religious music notes written by Cüneyt Kosal, which he generally recorded at the end of the work, will be evaluated in quantitative and qualitative terms. In this context, by scanning the accessible versions of nearly four thousand works in various forms of the religious music repertoire, 842 notes written by Kosal were identified. The date and explanation notes in these notes are listed. Kosal recorded the date of writing in the form of day/month/year for 792 (94%) of his notes, and a short or extended explanation note for 753 (89%) of them. It is seen that the notes classified according to years are concentrated in the periods 1984-86 and 1989-93. In Kosal's notes, there are frequent references to the sources from which he took/compiled the work and used it for the lyrics. According to what he recorded, he compiled a total of nearly forty different performers' personal readings or audio recordings. He used notes written by nearly fifty notists and published in approximately twenty-five different publications as sources. He consulted around forty publications such as divans and anthologies to identify and correct the lyrics. In his notes, several of these various sources are often cited together. The most used reference in Kosal's notes is "As read in the Foundation". There are many other names and keywords in the notes that he did not use this expression personally, but are also connected to the foundation. The foundation in question is Karagümrük Cerrâhî Asitanesi, whose corporate identity is the Foundation for Research and Survival of Turkish Sufi Music and Folklore. This was the most important factor in the emergence of Kosal's religious music notes and the main gathering place where the notes were used as a first-hand addressee. Although it is not always clearly stated in the notes, Kosal's aims in writing notes can be listed as preventing loss, recording, making it clean and legible, duplicating, reviewing the works and correcting them when necessary. Various inferences can be made when the notes are subjected to content analysis for the qualitative dimension. In general, it is seen that Kosal is sensitive about lyrics and uses multiple and comparative sources to obtain "complete" and "correct" lyrics. It has been determined that most of the sources used for the composition of the works are existing notes, even if they are old or problematic. Therefore, most of what he wrote was notes that he rewrote after making various checks for the lyrics and composition. Expressions such as “I rewrote” and similar words frequently appear in his notes. In addition, as seen in his notes, Kosal included in his statements the controversial situations regarding the composition and lyrics owners he encountered in the sources. Among Kosal's notes, the anecdotes in which he mentions the work he wrote or the people associated with the work are relatively in the minority. In the notes of his own compositions, he noted the composition dates and information about the composition process for some of them. Another important result of the study is that Kosal did not notate a different version for any of the works examined. This attitude indicates that Kosal has a tendency to standardize the notes of the works he wrote. Again, Kosal noted in his notes that he intervened in many points such as the lyrics, prosody, rhythm, mode and melodic flow of the works. However, its interventions are generally aimed at solving technical problems in its resources, which are already quite problematic. It is understood that he does not have the ideal of transforming the works to his own taste and understanding.
Detaylı Başlık
Vakıf’da Okunduğu Gibi: Cüneyt Kosal’ın Yazdığı Dini Musiki Notalarına Kaydettiği Notlar Üzerine Bir İnceleme
