{"id":207,"date":"2014-01-30T00:38:48","date_gmt":"2014-01-29T22:38:48","guid":{"rendered":"http:\/\/ozanyarman.com\/wpress\/?p=207"},"modified":"2014-02-13T18:06:30","modified_gmt":"2014-02-13T16:06:30","slug":"atat%c3%bcrk-ve-alaturka-yasa%c4%9f%c4%b1na-dair-m-g%c3%bcntekine-hitaben-mektup-11172008","status":"publish","type":"post","link":"https:\/\/ozanyarman.com\/wpress\/2014\/01\/atat%c3%bcrk-ve-alaturka-yasa%c4%9f%c4%b1na-dair-m-g%c3%bcntekine-hitaben-mektup-11172008\/","title":{"rendered":"Atat\u00fcrk ve Alaturka Yasa\u011f\u0131na dair, M. G\u00fcntekin’e hitaben mektup (11.17.2008)"},"content":{"rendered":"
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15 Kas\u0131m 2008 g\u00fcn\u00fc saat 19:30’da, Tar\u0131k Zafer Tunaya K\u00fclt\u00fcr Merkezi’nde, de\u011ferli Mehmet G\u00fcntekin’in “T\u00fcrk Musikisi At\u00f6lyesi – Atat\u00fcrk ve T\u00fcrk Musikisi” ba\u015fl\u0131kl\u0131 etkinli\u011fine kat\u0131ld\u0131m.<\/p>\n

Say\u0131n G\u00fcntekin, gayretli ve pek \u00e7ok ayr\u0131nt\u0131ya vak\u0131f bir ara\u015ft\u0131rmac\u0131 kimli\u011fiyle, Mustafa Kemal Atat\u00fcrk’\u00fcn hayat\u0131nda makamsal ve geleneksel m\u00fcziklerimizin yerini ortaya koyan ba\u015far\u0131l\u0131 bir sunum ger\u00e7ekle\u015ftirdi. Sunumunu Bekir S\u0131dk\u0131 Sezgin’in, Bimen \u015een’in, (hat\u0131r\u0131ma gelmeyen di\u011fer bir-iki ismin) ve kendisinin okudu\u011fu se\u00e7kin icra \u00f6rneklerini dinleterek peki\u015ftiren say\u0131n G\u00fcntekin, Gazi’nin kurmay subayl\u0131k y\u0131llar\u0131ndan hayat\u0131n\u0131n son evrelerine kadar klasik eserlerle ve d\u00f6neminin par\u00e7alar\u0131yla nas\u0131l i\u00e7 i\u00e7e oldu\u011funu, etraf\u0131ndan parlak haf\u0131zlar\u0131, mus\u0131ki\u015finaslar\u0131 ve bestekarlar\u0131 nas\u0131l eksik etmedi\u011fini ve makamsal m\u00fczi\u011fimizin inceliklerine ne kadar vak\u0131f oldu\u011funu anlatt\u0131.<\/p>\n

Sunumda n\u00fckteler de vard\u0131. Bunlardan biri Neyzen Tevfik ile Atat\u00fcrk aras\u0131ndaki rak\u0131 iddiala\u015fmas\u0131yd\u0131. Me\u015fhur hikayede, Atat\u00fcrk Neyzen’i k\u00f6\u015fk\u00fcne \u00e7a\u011f\u0131rt\u0131r, uzun uzun sohbet ederler, Neyzen arada neye \u00fcfler… Ard\u0131ndan Atat\u00fcrk sorar:<\/p>\n

A – Senin \u00e7ok fazla i\u00e7ki i\u00e7ti\u011fini s\u00f6yl\u00fcyorlar, benim kadar i\u00e7er misin ?<\/span>
\nN – Ne kadar i\u00e7ersiniz ?
\nA – \u0130ki tane kiloluk rak\u0131 i\u00e7erim.<\/span>
\nN – Nas\u0131l i\u00e7ersiniz ?
\nA – Can\u0131m nas\u0131l isterse; susuz, mezesiz.<\/span>
\nN – Ben de iki kiloluk i\u00e7erim ama, \u00f6yle i\u00e7mem.
\nA – Ya nas\u0131l i\u00e7ersin?<\/span><\/p>\n

Bunun \u00fczerine, Neyzen Tevfik bir tas getirilmesini s\u00f6yler, iki kiloluk rak\u0131y\u0131 tas\u0131n i\u00e7ine bo\u015falt\u0131r… Herkesin \u015fa\u015fk\u0131n bak\u0131\u015flar\u0131 aras\u0131nda bir somun ekmek ve b\u00fcy\u00fck\u00e7e bir ka\u015f\u0131k ister. Sonra ekme\u011fi lokma lokma do\u011fray\u0131p, tasa band\u0131r\u0131p, bir elinde ka\u015f\u0131k, rak\u0131y\u0131 \u00e7orba gibi i\u00e7meye ba\u015flar!<\/p>\n

Bunun \u00fczerine Atat\u00fcrk,<\/p>\n

– Pes! Pes!<\/span><\/p>\n

Diye ba\u011f\u0131rarak ve elleriyle y\u00fcz\u00fcn\u00fc kapatarak aya\u011fa f\u0131rlar.<\/p>\n<\/div>\n

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Bu e\u011flenceli hikayecikten sonra Atat\u00fcrk ve T\u00fcrk Musikisi konusuna d\u00f6nelim.B\u00f6yle \u00f6nemli bir konuya temas eden s\u00f6zkonusu etkinli\u011fe kat\u0131l\u0131m\u0131n daha fazla olmas\u0131n\u0131 arzu ederdim. G\u00f6rebildi\u011fim kadar\u0131yla, salonun yar\u0131s\u0131ndan fazlas\u0131 bo\u015ftu. Bunda ba\u015flama saatinin ak\u015fam 19:30 k\u0131l\u0131nmas\u0131n\u0131n pay\u0131 mutlaka vard\u0131. Dilerim ki bu sunum kayda al\u0131nm\u0131\u015ft\u0131r ve internet kanal\u0131yla arzu edenlerin istifadesine ileride sunulur.<\/p>\n

\u015eimdi, bu sunum ile ilgili, kabul buyurulursa, bir tak\u0131m ele\u015ftirilerim olacak.<\/p>\n<\/div>\n

*<\/div>\n

 <\/p>\n

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Say\u0131n G\u00fcntekin, kronolojik de\u011fil, da\u011f\u0131n\u0131k bir anlat\u0131m\u0131 tercih etti, daha \u00e7ok s\u00f6zel anlat\u0131ma a\u011f\u0131rl\u0131k verdi ve pek \u00e7ok kritik anekdotu, kendi yorumlar\u0131n\u0131 katarak ezberinden aktarma yolunu se\u00e7ti. Bu yol, seyircilerin pek \u00e7ok hikayenin orijinalinden yoksun kalmas\u0131na, neyin as\u0131l, neyin f\u00fcru oldu\u011funu farkedememesine sebep oldu. Bununla birlikte, baz\u0131 anekdotlar\u0131 \u00f6n\u00fcndeki notlardan okudu. Fakat, Cemal Re\u015fit Rey’in Atat\u00fcrk ile ilgili bir an\u0131s\u0131n\u0131 tam aktarmayarak, \u00e7ok \u00f6nemli bir c\u00fcmleyi atlad\u0131.Cemal Re\u015fit Rey’in orijinal “hat\u0131ralar\u0131”nda (Cumhuriyet gazetezi, 11 Kas\u0131m 1963), 1925’te \u0130zmit’ten Mudanya’ya giden Re\u015fit Pa\u015fa gemisinde Atat\u00fcrk ve konuklar\u0131na yemek m\u00fczi\u011fi olarak Cesar Franck’\u0131n kentet’ini \u00e7almaya ba\u015flarlar ve daha ba\u015ftaki giri\u015f b\u00f6l\u00fcm\u00fc bitmeden Atat\u00fcrk konuklar\u0131yla sohbete dalar. Cemal Re\u015fit Rey’in tam olarak s\u00f6yledikleri, say\u0131n G\u00fcntekin’in okumad\u0131\u011f\u0131 son c\u00fcmle ile birlikte, \u015f\u00f6yledir:<\/p>\n

“… konserimizi k\u0131sa kesmenin m\u00fcnasip oldu\u011funu hissettik. Klasik Bat\u0131 m\u00fczi\u011fine kar\u015f\u0131 alakas\u0131n\u0131n fazla olmad\u0131\u011f\u0131n\u0131 o g\u00fcn anlad\u0131m.\u00a0<\/span>\u0130\u015fte bu sebepledir ki, \u00e7oksesli m\u00fczi\u011fin memlekete girmesi hususundaki gayretleri kendisine kar\u015f\u0131 olan hayranl\u0131\u011f\u0131m\u0131 b\u00fcsb\u00fct\u00fcn art\u0131rd\u0131<\/span><\/span>.”<\/span><\/p>\n

Bu noktadan itibaren, Alaturka’n\u0131n radyolardan kald\u0131r\u0131lmas\u0131 konusunun Atat\u00fcrk ile ili\u015fkilendirilmemesi i\u00e7in say\u0131n G\u00fcntekin’in \u00f6zel bir gayret i\u00e7ine girdi\u011fini hissetim. Kendisi kaynaklardan sav\u0131na katk\u0131s\u0131 olanlar\u0131 se\u00e7erek kulland\u0131 ve sav\u0131n\u0131 \u00e7\u00fcr\u00fctebilecek olanlardan bahsetmeme kolayc\u0131l\u0131\u011f\u0131na ka\u00e7t\u0131. Bu tavr\u0131, konu\u015fmas\u0131n\u0131n ba\u015f\u0131nda \u00e7e\u015fitli kaynaklardan hareketle olan bitenlere dair sa\u011fl\u0131kl\u0131 bir tablo \u00e7izece\u011fine dair vaadine halel getirdi. Halbuki, Cemal Re\u015fit Rey’in hat\u0131ralar\u0131ndaki \u015fu ilave s\u00f6zler g\u00f6zard\u0131 edilemez niteliktedir ve sunumda bahsi ge\u00e7memi\u015f olmas\u0131 say\u0131n G\u00fcntekin’in olaylara tarafs\u0131z yakla\u015fma iddias\u0131n\u0131 \u00f6nemli \u00f6l\u00e7\u00fcde \u00f6rselemektedir:<\/p>\n

“… Atat\u00fcrk’\u00fcn m\u00fczikle alakalanmas\u0131n\u0131 gayet tabii g\u00f6rm\u00fc\u015ft\u00fcm. Bilahare mekteplerden mus\u0131ki tedrisat\u0131n\u0131, radyodan da alaturka mus\u0131kiyi kald\u0131rtt\u0131\u011f\u0131 zaman, kendisindenki tarafs\u0131z g\u00f6r\u00fc\u015flerin ne derece kuvvetli oldu\u011funa \u015fahit oldum.”<\/span><\/p>\n

Hemen belirtmeliyim ki, Mehmet G\u00fcntekin, 1926 y\u0131l\u0131nda, Maarif Vekili Mustafa Necati Bey taraf\u0131ndan olu\u015fturulan Sanayi-i Nefise Enc\u00fcmeni (Maarif Vekaleti T\u00fcrk Hars\u0131 M\u00fcd\u00fcr\u00fc Nam\u0131k \u0130smail Bey imzal\u0131) karar\u0131yla, Alaturka \u00e7alg\u0131lar\u0131n e\u011fitimine Dar\u00fc’l Elhan’da son verdildi\u011finden hi\u00e7bir yerde bahsetmedi. B\u00f6ylelikle, s\u00f6zkonusu uygulaman\u0131n Atat\u00fcrk ile irtibatland\u0131r\u0131lmas\u0131 olas\u0131l\u0131\u011f\u0131n\u0131 bertaraf etmeye \u00e7al\u0131\u015f\u0131r bir konuma d\u00fc\u015ft\u00fc. Bunun da sunumda bahsi ge\u00e7memi\u015f olmas\u0131 ciddi bir eksiklik ve tarafs\u0131zl\u0131k ihlali oldu.<\/p>\n

Bunlardan ba\u015fka, bir tak\u0131m tahrifatlar da g\u00f6z\u00fcmden ka\u00e7mad\u0131.<\/p>\n

1928 Sarayburnu olay\u0131, Haf\u0131z Ya\u015far Okur’dan ve Burhanettin \u00d6kte’den esinlendi\u011fi anla\u015f\u0131lan, “\u00e7arp\u0131k” bir tarzda, Sadi Yaver Ataman’\u0131n Atat\u00fcrk ve T\u00fcrk Musikisi adl\u0131 kitab\u0131nda anlat\u0131ld\u0131\u011f\u0131na benzer \u015fekilde ele al\u0131nd\u0131:<\/p>\n

*<\/p>\n

ATAT\u00dcRK: “BU MUSIK\u0130 B\u0130Z\u0130M HEYECANIMIZI \u0130FADE ETMEKTEN UZAKTIR”; S\u00d6Z\u00dcN\u00dc N\u0130\u00c7\u0130N S\u00d6YLEM\u0130\u015eT\u0130R?<\/span><\/p>\n<\/div>\n


\nY\u0131l 1928. A\u011fustos ay\u0131. \u00c7ok iyi hat\u0131rl\u0131yorum. \u0130stanbul hay\u0131r kurumlar\u0131ndan biri (ya \u00c7ocuk Esirgeme Kurumu, ya da Tayyare cemiyeti olacak, kesin olarak hat\u0131r\u0131mda de\u011fil) Sarayburnu’nda, park gazinosunda b\u00fcy\u00fck bir m\u00fcsamere (e\u011flence) d\u00fczenlemi\u015ftir. Bu e\u011flenceye iyi bir orkestra, ayr\u0131ca o tarihte memleketimizde bulunan (belki de \u00f6zel olarak davetli bulunan) M\u0131s\u0131r’\u0131n me\u015fhur muganniyelerinden M\u00fcniret-\u00fcl Mehdiye de saz ekibiyle oradad\u0131r.<\/span><\/span>\n<\/div>\n
 <\/div>\n
M\u00fcsamereyi \u015fereflendiren ATAT\u00dcRK sahneye yak\u0131n bir yere buyur edilmi\u015f, halk\u0131n co\u015fkun alk\u0131\u015flar\u0131 ve ya\u015fa ba\u011f\u0131r\u0131\u015flar\u0131na kar\u015f\u0131 o sevimli g\u00fcl\u00fcc\u00fckleriyle sel\u00e2mlar vererek yerlerini alm\u0131\u015flar.Orkestra ATAT\u00dcRK’\u00fcn sevdi\u011fi par\u00e7alar\u0131, bu arada Toska operas\u0131ndan aryalar \u00e7al\u0131yor ve \u00e7ekiliyor.Arap \u015fark\u0131c\u0131, arkada\u015flar\u0131yla beraber sahnede. Arap\u00e7a \u015fark\u0131lar okuyor. ATAT\u00dcRK \u015eam’da bulundu\u011fu s\u0131rada dinledi\u011fi Arap mus\u0131kisinden de ho\u015flanmaktad\u0131r.<\/p>\n

Arap \u015fark\u0131c\u0131 ATAT\u00dcRK’e bir cemile olmak \u00fczere, evvelden haz\u0131rlad\u0131\u011f\u0131, ATAT\u00dcRK’den bahseden ve onu metheden bir par\u00e7a okuyor. Halk par\u00e7ada ad\u0131 ge\u00e7en ATAT\u00dcRK’\u00fc \u00e7\u0131lg\u0131nca alk\u0131\u015fl\u0131yor.<\/p>\n

Arap \u015fark\u0131c\u0131dan sonra, bo\u015f kalan sahneye, k\u0131l\u0131klar\u0131 birbirine uymayan, kimisinin ceketi ayr\u0131, pantolon ba\u015fka, kimisi gravats\u0131z bir ekip \u00e7\u0131k\u0131yor. \u00c7o\u011fu amat\u00f6rlerden kurulmu\u015f acemi \u00e7ocuklar. Sultaniyeg\u00e2h fasl\u0131na ba\u015fl\u0131yorlar. O geceyi ben de hat\u0131rl\u0131yorum. Ancak ATAT\u00dcRK’\u00fcn yak\u0131n\u0131nda bulunan cumhurba\u015fkanl\u0131\u011f\u0131 saz heyetinin nezyenlerinden Burhanettin \u00d6kte’den dinleyelim.<\/p>\n

“Fas\u0131l ba\u015flay\u0131nca, evvel\u00e2 bizim \u00fczerimizde so\u011fuk bir du\u015f tesiri yapt\u0131. Zaten ATA’y\u0131 g\u00f6r\u00fcnce \u015fa\u015f\u0131r\u0131veren \u00e7ocukla<\/span>r, elleri ayaklar\u0131 tutmaz olmu\u015ftu. Sa\u00e7malamaya ba\u015flad\u0131lar. Geceyi d\u00fczenleyenler ATAT\u00dcRK’\u00fcn gelece\u011fini\u00a0<\/span>bildikleri halde, b\u00f6yle derme \u00e7atma bir ekibi sahneye \u00e7\u0131karmalar\u0131 b\u00fcy\u00fck hat\u00e2 idi.<\/span><\/p>\n

Her f\u0131rsatta “Benim milletim, benim mus\u0131kim, benim sanatk\u00e2r\u0131m<\/span>”\u00a0diye\u00a0\u00f6\u011f\u00fcnen ATAT\u00dcRK, bir \u00e7e\u015fit mus\u0131ki m\u00fcsabakas\u0131 halinde d\u00fczenlenen bu gecede, en \u00e7ok \u00fcmit ba\u011flad\u0131\u011f\u0131 bir kuvvetin elinden \u00e7\u0131km\u0131\u015f oldu\u011funu g\u00f6ren bir kumandan gibi \u00fcz\u00fclm\u00fc\u015ft\u00fc.<\/span><\/span><\/p>\n

Derhal yerinden aya\u011fa kalkt\u0131lar. ATAT\u00dcRK’\u00fcn \u00f6fkeyle aya\u011fa kalkmas\u0131, kendisinden g\u00f6z\u00fcn\u00fc ay\u0131rmayan halk\u0131n dikkatini \u00e7ekmi\u015f, herkes suspus olmu\u015ftu. Sahnedeki \u00e7ocuklar da fas\u0131llar\u0131n\u0131 kesmi\u015flerdi.<\/span><\/p>\n

ATAT\u00dcRK, etraf\u0131na duyuracak bir \u00f6fkeyle:<\/span><\/p>\n

– Gidelim… bu mus\u0131ki bizim heyecan\u0131m\u0131z\u0131 ifade etmekten uzakt\u0131r<\/span>, demi\u015f ve oradan ayr\u0131lm\u0131\u015ft\u0131r.<\/span><\/p>\n

*<\/p>\n

G\u00fcltekin Oransay, Atat\u00fcrk ile K\u00fc\u011f adl\u0131 kitab\u0131nda, 1928 Sarayburnu hikayesi ile ilgili olarak, “Verileri ku\u015fkulu belgeler ve bunlar\u0131 \u00e7\u00fcr\u00fcten kar\u015f\u0131savlar (F)” b\u00f6l\u00fcm\u00fcnde \u015funlar\u0131 aktar\u0131yor:<\/p>\n

“Atat\u00fcrk’\u00fcn Cumhurba\u015fkanl\u0131\u011f\u0131 y\u0131llar\u0131nda (1923-1938) olup bitenler i\u00e7inde geleneksel e\u011flence k\u00fc\u011f\u00fc yanda\u015flar\u0131n\u0131 en\u00e7ok \u00fczen iki olay, 1928 Sarayburnu s\u00f6ylevi ile 1934 kas\u0131m\u0131 radyolardan <<Do\u011fu>> k\u00fc\u011f\u00fc yay\u0131nlar\u0131n\u0131n kald\u0131r\u0131lmas\u0131, en sevindiren olay da 1936 eyl\u00fcl\u00fc <<Do\u011fu>> k\u00fc\u011f\u00fcn\u00fcn art\u0131k devlet eline ge\u00e7en radyolarda yeniden yay\u0131nlanmaya ba\u015flamas\u0131d\u0131r. Geleneksel e\u011flence k\u00fc\u011f\u00fc sanat\u00e7\u0131lar\u0131 ve yanda\u015flar\u0131 \u00fcz\u00fcc\u00fc olaylara kendilerince birer neden yak\u0131\u015ft\u0131rma, sevindirici olay\u0131n ise kahraman\u0131 kesilme yolunda savlar ortaya atm\u0131\u015flard\u0131r. Ger\u00e7eklerle ba\u011fda\u015fm\u0131yan bu savlara d\u00f6rt \u00f6rnek ile bir yan\u0131t\u0131 a\u015fa\u011f\u0131da bulacaks\u0131n\u0131z.<\/span><\/p>\n

F1. Ya\u015far Okur’un bir sav\u0131: Haf\u0131z Ya\u015far Okur’un enilik 1943’te yay\u0131nlanan, daha sonra Burhanettin \u00d6kte ve Cemal Granda (daha do\u011frusu Granda’n\u0131n an\u0131lar\u0131n\u0131 gazeteci bi\u00e7emiyle de\u011ferlendiren Turhan G\u00fcrkan) gibilerince de yinelenen sav\u0131 ilk bi\u00e7imiyle Osman Ergin’in kaleminden \u00e7\u0131kmad\u0131r…<\/span><\/p>\n

…[aktarm\u0131yorum]<\/p>\n

F2. Burhanattin \u00d6kte’nin anlat\u0131\u015f\u0131: Burhanettin \u00d6kte’nin <<Atat\u00fcrk’ten Hat\u0131ralar>> dizisinde ond\u00f6rd\u00fcnc\u00fc yaz\u0131s\u0131 Haf\u0131z Ya\u015far Okur’un sav\u0131n\u0131 yineleyip geni\u015fletmekte, bu arada Atat\u00fcrk’\u00fcn 1928 a\u011fustosu Sarayburnu’nda okuttu\u011fu s\u00f6zler ile 1934 kas\u0131m\u0131 \u0130\u00e7i\u015fleri Bakan\u0131 \u015e\u00fckr\u00fc Kaya’n\u0131n verdi\u011fi emir aras\u0131nda ge\u00e7en 6 y\u0131ll\u0131k s\u00fcreyi bir g\u00fcne indirmektedir.<\/span><\/p>\n

…[aktarm\u0131yorum]<\/p>\n

F3. Mustafa Sunar’\u0131n a\u00e7\u0131klamas\u0131: Ey\u00fcp Mus\u0131ki Cemiyeti’ni uzun y\u0131llar y\u00f6neten, 1940’dan sonra \u0130stanbul Belediye Konservatuvar\u0131 \u0130cra Heyeti \u00fcyesi olarak g\u00f6rev yapan Kemani ve Rebabi Eyyubi Mustafa Sunar (1881-1961) T\u00fcrk Musikisi Dergisi’nin 2. cilt 18. say\u0131s\u0131n\u0131n (1 Nisan 1949) 18. ve 24. y\u00fczlemlerinde <<Atat\u00fcrk’ten Hat\u0131ralar’a ait bir mektup. \u0130stanbul Konservatuvar\u0131 \u0130cra Heyeti’nden Mustafa Sunar’dan ald\u0131\u011f\u0131m\u0131z mektubu aynen ne\u015frediyoruz>> ba\u015fl\u0131\u011f\u0131yla \u00e7\u0131kan a\u00e7\u0131klamas\u0131nda, Haf\u0131z Ya\u015far Okur’un yukar\u0131da F1 ve F2 olarak sunulmu\u015f \u00e7ocuk\u00e7a sav’\u0131n\u0131 \u00e7\u00fcr\u00fctmektedir. Yaz\u0131da ad\u0131 ge\u00e7en Bayan Bedriye san\u0131r\u0131m Bedriye T\u00fcz\u00fcn olmal\u0131d\u0131r. 1940’larda Ankara Radyosu’nun pek\u00e7ok yay\u0131n\u0131na sopran sesiyle kat\u0131lan Bedriye T\u00fcz\u00fcn, tan\u0131nm\u0131\u015f ba\u011fdarlar\u0131m\u0131zdan Ferit T\u00fcz\u00fcn’\u00fcn ablas\u0131yd\u0131. A\u015fa\u011f\u0131ya t\u00fcm\u00fc aktar\u0131lan yaz\u0131n\u0131n yer yer pek bozuk olan anlat\u0131m\u0131na ili\u015filmedi, ancak birka\u00e7 notalama ve yaz\u0131m bozuklu\u011fu d\u00fczeltildi.<\/span><\/p>\n

… (Mustafa Sunar:) Bu konser Haf\u0131z Ya\u015far’\u0131n beyanat\u0131 gibi ne mektep \u00e7ocuklar\u0131nda ve ne de karma kar\u0131\u015f\u0131k giyinildi\u011finden ve istenilen \u015fark\u0131lar\u0131n \u00e7al\u0131namamas\u0131ndan m\u00fctevellit de\u011fildir.<\/span><\/p>\n

Mezkur <<Sarayburnu>> konseri Dolmabah\u00e7e saray\u0131ndan bildirilen emir \u00fczerine taraf\u0131mdan tertip edilmi\u015f ve Ey\u00fcp Musiki Cemiyeti ile emredilen saatte Sarayburnu gazinosunun alafranga k\u0131sm\u0131nda isbat-\u0131 v\u00fccut edilmi\u015ftir.<\/span><\/p>\n

B\u00fcy\u00fck Ata’m\u0131z o gece te\u015frif buyurdular ve bizden evvel, o esnada \u0130stanbul’da bulunan muganniye M\u00fcniret\u00fcl -Mehdiye’nin konsere ba\u015flamas\u0131n\u0131 emir buyurdular. Bu konserin hitam\u0131nda da riyasetim alt\u0131ndaki Ey\u00fcp Musiki Cemiyeti’nin konsere ba\u015flamas\u0131n\u0131 emir buyurdular. Bizler de yirmi be\u015f ki\u015filik hey’etimizle tertip etti\u011fimiz dokuz par\u00e7adan ibaret k\u00fcrdili hicazkar fasl\u0131n\u0131n program\u0131n\u0131 arzettikten sonra konsere ba\u015flad\u0131k…<\/p>\n

…<\/span><\/p>\n

Hakikat b\u00f6yle oldu\u011fu halde Haf\u0131z Ya\u015far’\u0131n, Ak\u015fam gazetesinde <<T\u00fcrk musikisinin yasak edildi\u011fi ve buna Ey\u00fcp Musiki Cemiyeti’nin mektep \u00e7ocuklar\u0131 sebebiyet verdi ve elbiselerinin karmakar\u0131\u015f\u0131k oldu\u011fu>> vesaire \u015feklinde say\u0131n muharrir Cemalettin Bildik’e beyanatta bulunmas\u0131 ve ba\u015flar\u0131nda da kemani Mustafa var diye o geceki konserde olmad\u0131\u011f\u0131 halde bizzat bulunarak g\u00f6rm\u00fc\u015f gibi efkar\u0131 umumiyeye kar\u015f\u0131 beni <<T\u00fcrk musikisinin yasak edilmesine sebeb bu adamd\u0131r>> diye te\u015frihe c\u00fcret etmesine hayretten ba\u015fka mukabil bir s\u00f6z bulam\u0131yaca\u011f\u0131m.<\/span><\/p>\n

Haf\u0131z Ya\u015far asl\u0131 esas\u0131 olm\u0131yan bu uydurma beyanat\u0131 yapaca\u011f\u0131na do\u011frudan do\u011fruya Haf\u0131z y\u00fcz elli tane yeni eser yapm\u0131\u015f ve icab\u0131nda da mevl\u00fct okuyormu\u015f diye kendi reklam\u0131n\u0131 yapt\u0131rm\u0131\u015f olsayd\u0131 \u00e7ok daha do\u011fru hareket etmi\u015f olur ve haks\u0131z olarak da bu yanl\u0131\u015f beyanat\u0131 ba\u015fka gazete veya mecmualarda da sirayet etmezdi.<\/span><\/p>\n

…<\/span>”<\/p>\n

Ayn\u0131 b\u00f6l\u00fcmde, Mehmet G\u00fcntekin’in sunumunda Ahmet Cevat Emre’nin bir s\u00f6yleminden hareketle Atat\u00fcrk’\u00fcn a\u011fz\u0131na yak\u0131\u015ft\u0131rd\u0131\u011f\u0131 \u015fu s\u00f6z ge\u00e7mektedir:<\/p>\n

“<<iki \u015feyde ink\u0131lap olmaz: Dilde ve musikide>> diyece\u011fi zaman \u00e7ok uzak de\u011fildi.”<\/span><\/p>\n

<\/span><\/div>\n

Hal b\u00f6yle iken, say\u0131n G\u00fcntekin, yukar\u0131daki ifadeyi Atat\u00fcrk b\u00f6yle demi\u015ftir \u015feklinde aktard\u0131.<\/div>\n
\n

Bu ve bunun evveliyat\u0131, Oransay taraf\u0131ndan adeta yerden yere vurulduktan ve “palavra” ilan edildikten sonra aktar\u0131lmaktad\u0131r:
\n 
\n“…\u00d6zle\u015ftirme hareketinin verdi\u011fi fena netice kar\u015f\u0131s\u0131nda <<Birbirimizi anlamaz hale geldik>> kanaatine gelen Gazi, birka\u00e7 g\u00fcn sonra elinde benim <<Yeni bir gramer metodu layihas\u0131>>, \u00c7ankaya’da \u00a0toplanm\u0131\u015f olan Dil Heyetine gelmi\u015f, sert sert beni paylam\u0131\u015ft\u0131: <<Lisanda ink\u0131lap olmaz diyorsun; seni Frans\u0131z alimleri aldatt\u0131lar!>> buyurdu ve ilave etti: <<Daha evvelki kitab\u0131nda lisan ink\u0131lab\u0131ndan uzun uzun bahsediyorsun, \u015fimdi aksini s\u00f6yl\u00fcyorsun.>>…”<\/span><\/p>\n

G\u00fcltekin Oransay’\u0131n sert \u00fcslubundan pay\u0131n\u0131 alanlar bunlarla s\u0131n\u0131rl\u0131 de\u011fildir. Vasfi R\u0131za Zobu ve Refik Fersan da ele\u015ftiri oklar\u0131n\u0131n hedefi olmu\u015flard\u0131r. Zaten bunlar\u0131n yasakla ilgili hikayelerindeki \u00e7e\u015fitli tutars\u0131zl\u0131klar dikkatli okuyucular\u0131n g\u00f6z\u00fcnden ka\u00e7acak t\u00fcrden de\u011fildir.<\/p>\n<\/div>\n

G\u00f6r\u00fclen o ki, Alaturkan\u0131n devlet taraf\u0131ndan yeniden himaye edilmesine y\u00f6nelik faaliyetlerin h\u0131z kazand\u0131\u011f\u0131 1940’lar\u0131n ortalar\u0131ndan itibaren, (Hz. Peygamber hakk\u0131nda \u00e7e\u015fitli f\u0131rkalar\u0131n kendi g\u00f6r\u00fc\u015flerini destekler mahiyette hadisler uydurmalar\u0131 gibi), Atat\u00fcrk hakk\u0131nda da, makamsal gelene\u011fi kay\u0131r\u0131c\u0131 “hadisler” uydurulmu\u015ftur.<\/div>\n
\n 
\nSay\u0131n G\u00fcntekin, Atat\u00fcrk ve T\u00fcrk Musikisi ba\u015fl\u0131kl\u0131 bir sunum haz\u0131rlarken, Oransay’\u0131n bu alandaki \u00e7al\u0131\u015fmas\u0131ndan haberdar olmam\u0131\u015f m\u0131d\u0131r? \u015eayet olmam\u0131\u015fsa, bu \u00e7ok ciddi bir eksikliktir. \u015eayet olmu\u015fsa ve bu aktar\u0131lanlar\u0131 bildi\u011fi halde konuya tarafs\u0131z yakla\u015fmam\u0131\u015fsa, daha da vahim bir durum s\u00f6zkonusudur.9 A\u011fustos 1928 Sarayburnu hadisesi ile ilgili tutarl\u0131 bir tarihsel incelemeye G\u00f6n\u00fcl Pa\u00e7ac\u0131’n\u0131n Cumhuriyet’in Sesleri’nde yay\u0131nlanan Cumhuriyet’in Sesli Ser\u00fcveni adl\u0131 makalesinden ula\u015f\u0131labilir. Dikkat edilmesi gereken husus, Gazi’nin 8 A\u011fustos g\u00fcn\u00fc ayn\u0131 mekanda harf ink\u0131lab\u0131n\u0131 ger\u00e7ekle\u015ftirmi\u015f olmas\u0131d\u0131r. Ortada planl\u0131 programl\u0131 bir faaliyet vard\u0131r ve konserin Do\u011fu-Bat\u0131 medeniyetleri mukayesesi \u00fczerinden \u00e7oksesli m\u00fczi\u011fin \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc kan\u0131tlamak ve dolay\u0131s\u0131yla Bat\u0131l\u0131la\u015fma projesinin gereklili\u011fini vurgulamak maksad\u0131yla kurgulanm\u0131\u015f oldu\u011fu d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n<\/div>\n
<\/div>\n
Atat\u00fcrk’\u00fcn o g\u00fcn s\u00f6yledi\u011fi a\u015fa\u011f\u0131daki s\u00f6zleri, ku\u015fkular\u0131 hakl\u0131 \u00e7\u0131kartacak niteliktedir:<\/div>\n
\n <\/div>\n
\n
\u201cBu gece, burada, g\u00fczel bir tesad\u00fcf eseri olarak \u015eark\u2019\u0131n en m\u00fcmtaz iki mus\u0131ki heyetini dinledim. Bilhassa sahneyi birinci olarak tezyin eden M\u00fcniret\u00fc\u2019l Mehdiye Han\u0131m sanatk\u00e2rl\u0131\u011f\u0131nda muvaffak oldu.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Fakat, benim T\u00fcrk hissiyat\u0131m \u00fczerinde art\u0131k bu mus\u0131ki,\u00a0bu basit mus\u0131ki, T\u00fcrk\u2019\u00fcn \u00e7ok m\u00fcnke\u015fif ruh ve hissini tatmine k\u00e2fi gelmez. \u015eimdi kar\u015f\u0131da\u00a0Meden\u00ee d\u00fcnyan\u0131n mus\u0131kisi de i\u015fitildi. Bu ana kadar \u015eark Mus\u0131kisi denilen terenn\u00fcmler kar\u015f\u0131s\u0131nda kans\u0131z gibi g\u00f6r\u00fcnen halk, harekete ve faaliyete ge\u00e7ti. Hepsi oynuyor ve \u015fen-\u015fat\u0131rd\u0131lar, tabiat\u0131n icab\u0131n\u0131 yap\u0131yorlar. Bu pek tabiidir. Hakikaten T\u00fcrk f\u0131traten \u015fen-\u015fat\u0131rd\u0131r.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
E\u011fer onun bu g\u00fczel huyu bir zaman i\u00e7in farkolunmam\u0131\u015fsa, kendisinin kusuru de\u011fildir. Kusurlu hareketlerin ac\u0131, felaketli neticeleri vard\u0131r.\u00a0Bunun fariki olmamak kabahatti. \u0130\u015fte, T\u00fcrk Milleti bunun i\u00e7in gamland\u0131. Fakat art\u0131k, millet hatalar\u0131n\u0131 kan\u0131 ile tashih etmi\u015ftir, art\u0131k m\u00fcsterihtir, art\u0131k T\u00fcrk \u015fendir, f\u0131trat\u0131nda oldu\u011fu gibi.\u201d<\/span><\/div>\n
<\/div>\n<\/div>\n
\n 
\nZaten, 21-24 Mart 1930 tarihleri aras\u0131nda, Vossische Zeitung muhabiri Emil Ludwig ile r\u00f6portaj\u0131da, Atat\u00fcrk, \u015eark m\u00fczi\u011finin Bizans’tan kalma oldu\u011funu ve ger\u00e7ek T\u00fcrk m\u00fczi\u011finin Anadolu halk\u0131ndan i\u015fitilebilece\u011fini s\u00f6yledikten sonra, Bat\u0131 m\u00fczi\u011finin bug\u00fcnki haline gelinceye kadar ge\u00e7irmek zorunda kald\u0131\u011f\u0131 d\u00f6rt y\u00fczy\u0131ll\u0131k evreye temas eder ve \u015f\u00f6yle der:<\/div>\n
\u00a0<\/span><\/div>\n
“Bizim bu kadar zaman\u0131 bekleme\u011fe vaktimiz yoktur. Bunun i\u00e7in, garp musikicili\u011fini almakta oldu\u011fumuzu g\u00f6r\u00fcyorsunuz.”<\/span><\/div>\n
<\/div>\n

 <\/p>\n

Mehmet G\u00fcntekin bey niye bunlardan bahsetmiyor?<\/div>\n

 <\/p>\n

<\/div>\n
Say\u0131n G\u00fcntekin Atat\u00fcrk’\u00fcn 1 Kas\u0131m 1934 tarihli ve \u00e7ok \u00e7arp\u0131c\u0131 bilgiler ihtiva eden 4. Yasama Y\u0131l\u0131 Meclis A\u00e7\u0131\u015f konu\u015fmas\u0131n\u0131 da geli\u015fig\u00fczel aktard\u0131. Alaturka yay\u0131nlar\u0131n\u0131n radyolardan kald\u0131r\u0131lmas\u0131na ilham olan bu konu\u015fman\u0131n asl\u0131 \u015f\u00f6yledir:<\/div>\n
<\/div>\n

 <\/p>\n

\n
\n
“Arkada\u015flar,<\/span><\/div>\n
\u00a0<\/span><\/div>\n
G\u00fczel sanatlar\u0131n t\u00fcm\u00fcnde, ulus gen\u00e7li\u011finin ne denli ilerletilmesini istedi\u011finizi bilirim. Bu, yap\u0131lmaktad\u0131r, Ancak, bunda en \u00e7abuk, en \u00f6nde g\u00f6r\u00fclmesi gerekli olan T\u00fcrk musikisidir. (Alk\u0131\u015flar)<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Bir ulusun yeni de\u011fi\u015fikli\u011finde \u00f6l\u00e7\u00fc, musikide de\u011fi\u015fikli\u011fi alabilmesi, kavrayabilmesidir.<\/span>\u00a0Bu g\u00fcn dinletilmeye \u00e7al\u0131\u015f\u0131lan musiki y\u00fcz a\u011fartacak de\u011ferde olmaktan uzakt\u0131r. Bunu a\u00e7\u0131k\u00e7a bilmeliyiz.<\/span>\u00a0(Bravo sesleri, alk\u0131\u015flar)<\/div>\n
\u00a0<\/span><\/div>\n
Ulusal ince duygular\u0131, d\u00fc\u015f\u00fcnceleri anlatan, y\u00fcksek deyi\u015fleri, s\u00f6yleyi\u015fleri toplamak, onlar\u0131 genel son musiki kurallar\u0131na g\u00f6re i\u015flemek gerekir. Ancak bu d\u00fczeyde T\u00fcrk ulusal m\u00fczi\u011fi y\u00fckselebilir, evrensel musiki i\u00e7inde yerini alabilir.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
K\u00fclt\u00fcr \u0130\u015fleri Bakanl\u0131\u011f\u0131n\u0131n buna, de\u011ferince \u00f6zen vermesini, kamunun da bunda ona yard\u0131mc\u0131 olmas\u0131n\u0131 dilerim.”<\/span><\/div>\n
<\/div>\n

 \n<\/p><\/div>\n<\/div>\n

Bir de Alaturka yasa\u011f\u0131n\u0131n sona ermesiyle ilgili tamburac\u0131 Osman Pehlivan’\u0131n Atat\u00fcrk ile olan diyalogunu aktard\u0131 say\u0131n G\u00fcntekin. Ona g\u00f6re yasak 1 y\u0131l 6 ay s\u00fcrm\u00fc\u015f ve Osman Pehlivan’\u0131n radyoda \u00e7almas\u0131na y\u00f6nelik\u00a0Atat\u00fcrk’\u00fcn ki\u015fisel talimat\u0131yla sonlam\u0131\u015f. S\u00f6zkonusu diyalo\u011fun \u00e7ok yak\u0131\u015f\u0131ks\u0131z bir sav oldu\u011funu s\u00f6ylemeye hacet yoktur. Hakikat ise, daha \u00f6nce anlatt\u0131\u011f\u0131m gibi, a\u015fa\u011f\u0131daki y\u00f6nde vuku bulmu\u015ftur.<\/div>\n
\n

Al\u0131nt\u0131l\u0131yorum…*<\/p>\n

Yasak, 2 Kas\u0131m 1934 ila 6 Eyl\u00fcl 1936 tarihleri boyunca seyretmi\u015f g\u00f6r\u00fcn\u00fcyor. Bununla birlikte, 5 \u015eubat 1936 tarihli Ak\u015fam gazetesindeki habere bak\u0131l\u0131rsa, Fas\u0131l t\u00fcr\u00fc d\u0131\u015f\u0131ndaki havalara, yasa\u011f\u0131n sonlar\u0131na do\u011fru ruhsat verildi\u011fi anla\u015f\u0131l\u0131yor (\u00dcstel, F. 1999, “1920\u0092li ve 30\u0092lu Y\u0131llarda Milli Musiki ve Musiki \u0130nk\u0131lab\u0131”):<\/p>\n

 <\/p>\n

\u0093RADYO PROGRAMLARINA M\u0130LL\u00ce HAVALAR KONULUYOR<\/strong> \u0096— Matbuat Umum M\u00fcd\u00fcrl\u00fc\u011f\u00fc \u0130stanbul Radyosu program\u0131na mill\u00ee havalar\u0131n konulmas\u0131 i\u00e7in radyo \u015firketine bir tezkere g\u00f6ndermi\u015ftir. Bu tezkerede, tamburac\u0131 Osman Pehlivan\u0092\u0131n radyoda T\u00fcrk Halk Havalar\u0131 \u00e7almas\u0131 ve s\u00f6ylemesinin muvaf\u0131k g\u00f6r\u00fcld\u00fc\u011f\u00fc bildirilmi\u015ftir. Sanatk\u00e2r, Mill\u00ee Mus\u0131ki \u00f6rnekleri vererek ve mill\u00ee \u00e7e\u015fnileriyle halk havalar\u0131 s\u00f6yleyecektir.\u00a0Ancak Fas\u0131l ve Enderun Mus\u0131kisine temas etmeyecektir.\u0094<\/p><\/blockquote>\n

 
\nBasit\u00e7e bir hesap sonucu g\u00f6r\u00fcr\u00fcz ki:
\n <\/p>\n

(6 Eyl\u00fcl 1936) – (2 Kas\u0131m 1934) = 674 g\u00fcn<\/strong>, yahut 1 y\u0131l+10 ay+4 g\u00fcn boyunca Alaturka yay\u0131n yasa\u011f\u0131,
\n(5 \u015eubat 1936) – (2 Kas\u0131m 1934) = 460 g\u00fcn<\/strong>, yahut 1 y\u0131l+3 ay+3 g\u00fcn boyunca Halk m\u00fczi\u011fi yay\u0131n yasa\u011f\u0131.<\/p><\/blockquote>\n

 <\/p>\n

Daha da kat\u0131 bir yorum, yasa\u011f\u0131n 460. g\u00fcn\u00fcnde, yaln\u0131zca Osman Pehlivan i\u00e7in kalkt\u0131\u011f\u0131 y\u00f6n\u00fcnde olacakt\u0131r. Bu konuda ileri s\u00fcr\u00fclen hikayelere ne kadar itibar edilmesi gerekti\u011fini ferasetinize b\u0131rak\u0131yorum.
\n 
\n*
\n 
\nAlaturka yasa\u011f\u0131 ile ilgili olarak Burhanettin \u00d6kte’nin \u015fu s\u00f6zleri de \u00e7ok manidard\u0131r:<\/p>\n

“Ata’n\u0131n, Melik Erdik’in konserine \u015feref vermelerinin tek ve a\u00e7\u0131k sebebi,\u00a0musikimize vurduklar\u0131 b\u00fcy\u00fck darbenin\u00a0yine kendilerine yak\u0131\u015fan alicenapl\u0131kla telafisinden ba\u015fka bir\u015fey de\u011fildi.”<\/span><\/p>\n<\/div>\n

Benzer \u015fekilde, Sadi Yaver Ataman’\u0131n a\u015fa\u011f\u0131da aktard\u0131klar\u0131, meseleye son noktay\u0131 koyar niteliktedir:<\/div>\n
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 <\/p>\n

*<\/div>\n

 <\/p>\n

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Bir ak\u015fam da ATAT\u00dcRK cumhurba\u015fkanl\u0131\u011f\u0131 saz heyetinden, sevdi\u011fi t\u00fcrk\u00fclerden “Manast\u0131r\u0131n ortas\u0131nda var bir havuz” t\u00fcrk\u00fcs\u00fcn\u00fc istiyor.<\/p>\n

\u00c7ocukluk ve gen\u00e7lik arkada\u015f\u0131 Nuri Conker:<\/p>\n<\/div>\n<\/div>\n

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– \u0130mam verir talk\u0131n\u0131, kendi yutar salk\u0131m\u0131. Sen radyodan alaturkay\u0131 kald\u0131rd\u0131n, kendin de \u00e7ald\u0131rma bakal\u0131m, diyor.<\/span><\/p>\n

ATAT\u00dcRK’\u00fcn verdi\u011fi cevap \u015fudur:<\/p>\n

– \u015eimdi biz burada rak\u0131 i\u00e7iyoruz diye, devletin her k\u00f6yde meyhane a\u00e7mas\u0131 c\u00e2iz mi? biz fena yeti\u015ftirilme ve ihmaller neticesi buna al\u0131\u015fm\u0131\u015f\u0131z, kendimizi kurtarmayabiliriz, fakat gelecek nesillere, kendi fena itiyadlar\u0131m\u0131z\u0131 (al\u0131\u015fkanl\u0131klar\u0131m\u0131z\u0131) a\u015f\u0131lamaya hakk\u0131m\u0131z yok. Nas\u0131l, farz\u0131ma hal halk al\u0131\u015fm\u0131\u015ft\u0131r diye esrar tekkeleri a\u00e7amazsak, devlet radyolar\u0131nda da a\u011flayan inleyen na\u011fmeler yayamay\u0131z.\u00a0<\/span><\/p>\n

*<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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<\/div>\n
Bu kadar bilgi \u0131\u015f\u0131\u011f\u0131nda, olup bitenlerin Mustafa Kemal’in g\u0131yab\u0131nda ger\u00e7ekle\u015fti\u011fini s\u00f6ylemek m\u00fcmk\u00fcn de\u011fildir.<\/div>\n

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<\/div>\n
Gazi 1936’da geri ad\u0131m atm\u0131\u015f m\u0131d\u0131r? \u0130\u015fte mesele bu noktada d\u00fc\u011f\u00fcmlenmektedir. Yasak, Tanburac\u0131 Osman Pehlivan ile de\u011fil, 6 Eyl\u00fcl g\u00fcn\u00fc Veli Kan\u0131k’\u0131n Ankara radyosu m\u00fcd\u00fcrl\u00fc\u011f\u00fcne getirilmesiyle kalkm\u0131\u015ft\u0131r. O arada, Paul Hindemith, Carl Ebert ve Eduard Zuckmayer \u00f6nderli\u011finde\u00a0kurulan Ankara Devlet Konservatuvar\u0131na,\u00a06-12 May\u0131s 1936 tarihlerinde Musiki Muallim Mektebi talebeleri s\u0131navla al\u0131nm\u0131\u015ft\u0131. Bu tarihten Alaturka yay\u0131n yasa\u011f\u0131n\u0131n kalkmas\u0131na kadar yakla\u015f\u0131k 4 ay vard\u0131r. Osman Pehlivan’\u0131n radyodan icra yapmas\u0131na y\u00f6nelik talimat, ADK’nin resmi olarak faaliyete ge\u00e7mesinden \u00fc\u00e7 ay \u00f6nce verilmi\u015ftir ve y\u00fckselen kitlesel tepkiyi yat\u0131\u015ft\u0131rmaya y\u00f6nelik bir oyalama takti\u011fi gibi durmaktad\u0131r. Belki de, T\u00fcrk be\u015flerinin yap\u0131tlar\u0131n\u0131n yeterince milli karakterde olup olmad\u0131\u011f\u0131 bu yolla tecr\u00fcbe edilmek istenmi\u015ftir. Bu konuda spek\u00fclasyonun sonu gelecek gibi de\u011fildir.<\/div>\n

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<\/div>\n
Spek\u00fclasyon olmayan ise, 4 Ocak 1938’te, Atat\u00fcrk’\u00fcn Kemal \u00dcnal’a yazd\u0131rd\u0131\u011f\u0131 “Fas\u0131l Mus\u0131kisi Milli Mus\u0131ki De\u011fildir ve Olamaz” ba\u015fl\u0131kl\u0131, 8 Ocak tarihli Ulus gazetesinde yay\u0131nlanan yaz\u0131s\u0131ndaki d\u00fc\u015f\u00fcnceleridir:<\/div>\n
\u00a0<\/span><\/div>\n
“…Tek sesli eski musikimiz, baz\u0131 eserleri birbirine \u00e7ok yak\u0131n olmakla beraber, iki ana z\u00fcmrede toplan\u0131r:<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Fas\u0131l veya enderun musikisi, halk musikisi.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Fas\u0131l musikisi, t\u0131pk\u0131 divan edebiyat\u0131 gibi, tamamen yabanc\u0131 tesirler alt\u0131nda kalm\u0131\u015f ve mahdud bir z\u00fcmrenin ifade vas\u0131tas\u0131 olmu\u015ftur. Onu yaln\u0131z imparatorlu\u011fun milli zevkten mahrum entellekt\u00fcelleri anl\u0131yabilmi\u015ftir. Halka malolmam\u0131\u015ft\u0131r.<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Modern musikimiz yaln\u0131z m\u00fcmtaz bir s\u0131n\u0131f\u0131n de\u011fil, b\u00fct\u00fcn milletin mal\u0131 olaca\u011f\u0131ndan, halk\u0131n ruhuna girmemi\u015f olan seslerin yeni eserlerde yer alam\u0131yaca\u011f\u0131 \u015f\u00fcphesizdir. Bu sebeplerle zevkini ve kula\u011f\u0131n\u0131 yeni musikiye haz\u0131rl\u0131yan cumhuriyet gen\u00e7li\u011fi fas\u0131l musikisinden s\u00fcratle uzakla\u015fmaktad\u0131r. Baz\u0131 itiyadlar ise uzun m\u00fcddet mukavemet edemiyecektir…”<\/span><\/div>\n
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Mehmet G\u00fcntekin bey niye bunlardan bahsetmiyor?<\/div>\n

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\nSay\u0131n G\u00fcntekin bir yerde Riyaset-i Cumhur Fas\u0131l Heyeti’nin Musika-yi H\u00fcmayun’un devam\u0131 oldu\u011funu da s\u00f6yledi. Halbuki, Musika-yi H\u00fcmayun’un devam\u0131, Riyaset-i Cumhur Bandosu ve Filarmoni orkestras\u0131d\u0131r (Orkestra Osman Zeki \u00dcng\u00f6r, Bando Veli Kan\u0131k taraf\u0131ndan y\u00f6netilmektedir).G\u00fcntekin, sunumunun sonunda, Riyaset-i Cumhur \u0130ncesaz (Fas\u0131l) Heyeti’nin Gazi\u0092nin hat\u0131ras\u0131n\u0131 ya\u015fatmak i\u00e7in yeniden kurulmas\u0131 y\u00f6n\u00fcnde dilek beyan etti. Oysa, bu heyetin Gazi zaman\u0131nda halka y\u00f6nelik konserler vermedi\u011fi bir vak\u0131ad\u0131r ve kendisinin ki\u015fisel m\u00fczik zevkleri i\u00e7in tahsis edildi\u011fi gayet iyi bilinmektedir.<\/p>\n

Atat\u00fcrk’\u00fcn hat\u0131ralar\u0131 elbette ya\u015fat\u0131lmal\u0131d\u0131r. Ancak, millilik vasf\u0131 pek \u00e7ok y\u00f6nden tart\u0131\u015fmal\u0131 olan makamsal gelene\u011fin devaml\u0131l\u0131\u011f\u0131n\u0131 Atat\u00fcrk’\u00fcn hat\u0131ras\u0131na ba\u011flamak, kurucu zihniyetten me\u015fruiyet umma \u00e7abalar\u0131n\u0131n bir par\u00e7as\u0131 olarak tezah\u00fcr etmektedir. Bu a\u00e7\u0131dan de\u011ferlendirildi\u011finde, Atat\u00fcrk ve T\u00fcrk Mus\u0131kisi konusu rahats\u0131z edici boyutta politik ve ideolojik bir istismar arac\u0131na d\u00f6n\u00fc\u015fmektedir.<\/p>\n

D\u00fc\u015f\u00fcncelerimi toparlarsam:<\/p>\n

1. Sanatsal ve Geleneksel T\u00fcrk m\u00fczi\u011fi’ni Mustafa Kemal Atat\u00fcrk’\u00fcn severek ve be\u011fenerek dinledi\u011fi varittir,<\/p>\n

2. Makamsal k\u00fclt\u00fcr\u00fc ki\u015fisel zevki i\u00e7in destekledi\u011fi, d\u00f6nemin parlak isimlerini yak\u0131n\u0131nda himaye etti\u011fi sabittir,<\/p>\n

3. Bununla birlikte, 1926’da Alaturka \u00e7alg\u0131lar\u0131n e\u011fitiminin yasaklanmas\u0131 ile 1934-36 y\u0131llar\u0131 aras\u0131nda Alaturka yay\u0131n yasa\u011f\u0131n\u0131n ba\u015flamas\u0131 kendisinin g\u0131yab\u0131nda ger\u00e7ekle\u015fmi\u015f olarak telakki edilemez.<\/p>\n

4. Yasa\u011f\u0131n niye sonland\u0131\u011f\u0131 ile ilgili \u00e7e\u015fitli sebepler ileri s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Bunlar\u0131n en \u00f6nemlilerinden biri, Mehmet beyin de sunumunda temas etti\u011fi \u00fczere, T\u00fcrkiye’de \u00fcr\u00fcn pazarlamakta zorluk ya\u015fayan radyo \u00fcreticilerinin h\u00fck\u00fcmet kanal\u0131yla sergiledikleri giri\u015fimlerdir. Bu konu, pek \u00e7ok spek\u00fclasyona gebedir ve ciddiyetle ara\u015ft\u0131r\u0131lm\u0131\u015f de\u011fildir.<\/p>\n

5. 1924’te Mus\u0131ki Muallim Mektebi, 1936’da, Ankara Devlet Konservatuvar\u0131 kurulmu\u015ftur ve bunlar\u0131n misyonu bellidir. Atat\u00fcrk T\u00fcrkiyesi’nde, gen\u00e7 nesillere Fas\u0131l ve Enderun m\u00fczi\u011fi a\u015f\u0131lanmayacakt\u0131r. Hedef, halk havalar\u0131n\u0131n armonizasyonu \u00fczerinden, Bat\u0131l\u0131 \u00e7alg\u0131 heyetlerince ve Bat\u0131 sesleriyle yeni bir ulusal m\u00fczik varedilmesi ve “medeni” d\u00fcnyan\u0131n repertuvar\u0131na y\u00fckselmesidir. Atat\u00fcrk’\u00fcn r\u00fcyas\u0131 ve mus\u0131ki ink\u0131lab\u0131ndan beklentisi budur.<\/em><\/p>\n<\/div>\n

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Uzun laf\u0131n k\u0131sas\u0131, art\u0131k T\u00fcrk makam m\u00fczi\u011finin varl\u0131\u011f\u0131n\u0131 Atat\u00fcrk’\u00fcn hat\u0131ras\u0131na ve m\u00fczik tercihine dayand\u0131rma gayretlerinden vazge\u00e7ilmelidir. Bu m\u00fczi\u011fi Atat\u00fcrk sevmi\u015f ve himaye etmi\u015f oldu\u011fu i\u00e7in de\u011fil, bizler sevdi\u011fimiz ve himaye edilmeye lay\u0131k oldu\u011fu i\u00e7in ya\u015fatmal\u0131y\u0131z.<\/div>\n
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Esenlikle,
\nDr. Ozan Yarman<\/div>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

15 Kas\u0131m 2008 g\u00fcn\u00fc saat 19:30’da, Tar\u0131k Zafer Tunaya K\u00fclt\u00fcr Merkezi’nde, de\u011ferli Mehmet G\u00fcntekin’in “T\u00fcrk Musikisi At\u00f6lyesi – Atat\u00fcrk ve T\u00fcrk Musikisi” ba\u015fl\u0131kl\u0131 etkinli\u011fine kat\u0131ld\u0131m. Say\u0131n G\u00fcntekin, gayretli ve pek \u00e7ok ayr\u0131nt\u0131ya vak\u0131f bir ara\u015ft\u0131rmac\u0131 kimli\u011fiyle, Mustafa Kemal Atat\u00fcrk’\u00fcn hayat\u0131nda … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-207","post","type-post","status-publish","format-standard","hentry","category-tuning-maqam-theory"],"_links":{"self":[{"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/posts\/207","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/comments?post=207"}],"version-history":[{"count":10,"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/posts\/207\/revisions"}],"predecessor-version":[{"id":262,"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/posts\/207\/revisions\/262"}],"wp:attachment":[{"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/media?parent=207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/categories?post=207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ozanyarman.com\/wpress\/wp-json\/wp\/v2\/tags?post=207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}