As Performed in the Vakıf: A Study on Cüneyt Kosal's Annotations in his Religious Music Notes

Selman Benlioğlu

Article Details

As Performed in the Vakıf: A Study on Cüneyt Kosal's Annotations in his Religious Music Notes

Authors:

Selman Benlioğlu

Publisher:

Hitit University

Main Topics:

Dini Musiki

Journal:

Hitit İlahiyat Dergisi Vol.23 Issue 2, pp.809-841

Document Type:

Article

Publication Date:

12/2024

Document Language:

Turkish

Document ID (Org No.):

2001336414

pISSN:

2757-6949

Keywords:

Abstract:

 Qanun player and composer Cüneyt Kosal 1931-2018 collected a large number of sheet music during his long and prolific career, creating one of the largest archives of Turkish music. He wrote a large number of scores, either through compilation or by editing from old scores. In addition to the standard data such as maqam, rhythm, form, composer and lyricist, he recorded information such as the date and place where the notation was written, the date of composition of the work, the person from whom the work was compiled, the origin of the work if it was transferred from recorded material such as tapes or cassettes, the written sources used for the composition or lyrics, the corrections to the melody, lyrics or rhythm, the person to whom the composition was dedicated and various anecdotes about the work. In this study, Cüneyt Kosals annotations on his religious music notes, which usually contain various explanations recorded at the end of the piece, will be evaluated quantitatively and qualitatively. In this context, the accessible versions of nearly four thousand works in various forms of religious music repertoire were scanned and 842 notes written by Kosal were identified. The dates and explanatory notes on these scores are listed. Kosal recorded the date of notation in the form of daymonthyear in 792 of his notes 94 and a short or extensive explanatory note in 753 of them 89. Classified by year, the notes are concentrated in the periods 1984-86 and 1989-93. In Kosals notes, there are frequent references to the sources from which he took or compiled the work and the sources he used for the lyrics. According to what he recorded, he compiled a total of nearly forty different performers readings or recordings. He used the notes written by nearly fifty notists and in about twenty-five different publications as sources. In order to find or correct the lyrics, he used about forty publications such as divan and anthologies. In his notes, several of these various sources are often mentioned together. The most common reference Kosal uses in his notes is as performed in the Vakıf. There are many other names and keywords that he does not use, but which are also connected to the foundations Vakıf. The foundation referred to is the Karagümrük Jarrahi Lodge, whose official name is the Turkish Sufi Music and Folklore Research and Sustenance Foundation. This was the most important factor in the emergence of Kosals religious music scores and the main venue where they were primarily used. Although not always explicitly stated in the notes, Kosals aims in writing notes can be listed as preventing loss, recording, making them clean and legible, reproducing them, reviewing the works and correcting them when necessary. When the notes are subjected to content analysis for the qualitative dimension, various inferences can be made. In general, it is seen that Kosal was sensitive about the lyrics and used multiple and comparative sources to obtain the complete and correct lyrics. It has been determined that most of the sources he used for the compositional aspects of the works were existing scores, even if they were old or problematic. Therefore, most of what he wrote are the notes he rewrote by making various checks for the lyrics and composition. In his notes, the phrases rewritten and similar expressions appear frequently. In addition, as seen in his notes, Kosal included in his explanations the conflicting situations regarding the owners of compositions and lyrics that he encountered in the sources. Among Kosals notes, he mentions the work he wrote or its relation to the work. Among Kosals notes, anecdotes in which he mentions the work he wrote, or the people associated with it are relatively few. In the notes of his own compositions, he noted the dates of composition and, for some of them, information about the composition process. Another important result of the study is that Kosal did not notate a different version for any of the works analyzed. This attitude indicates that Kosal tended to standardize his notation. Again, Kosal recorded in his notes that he intervened in many aspects of the works such as lyrics, prosody, rhythm, maqam and melodic progression. However, his interventions were generally aimed at solving technical problems in his sources, which were already quite problematic. It is understood that he did not have the ideal of transforming the works into his own taste and understanding.

 Kanuni ve bestekâr Cüneyt Kosal 1931-2018 uzun ve üretken kariyeri boyunca çok sayıda nota toplayarak Türk müziğinin en geniş arşivlerinden birini oluşturmuş, eski notalardan düzenleyerek veya derleme yoluyla çok sayıda nota yazmıştır. Yazdığı notalarda makam, usul, form, beste ve güfte sahibi gibi standart verilerin dışında notanın kaleme alındığı tarih ve mekân, eserin beste tarihi, eserin derlendiği kişi, bant ya da kaset gibi kayıtlı malzemeden aktarılmışsa menşei, beste veya güfte için kullanılan yazılı kaynaklar, varsa melodi, güfte yerleşimi ya da usulde tashihler, bestenin ithaf edildiği kişi ve eserle ilgili çeşitli anekdotlar gibi konularda bilgi notları kaydetmiştir. Bu çalışmada Cüneyt Kosalın yazdığı dini musiki notalarında genelde eserin sonuna kaydettiği bu çeşitli açıklamalar içeren notlar nicel ve nitel yönden değerlendirilecektir. Bu bağlamda dini musiki repertuvarının muhtelif formlarında dört bine yakın eserin ulaşılabilen versiyonları taranarak Kosalın kaleminden çıkma 842 adet nota tespit edilmiştir. Bu notalardaki tarih ve açıklama notları listelenmiştir. Kosal, notalarının 792 adedine 94üne günayyıl şeklinde yazım tarihini, 753üne 89una kısa ya da geniş bir açıklama notu kaydetmiştir. Yıllara göre tasnif edilen notaların 1984-86 ile 1989-93 dönemlerinde yoğunlaştığı görülür. Kosalın notlarında eseri aldığıderlediği ve güfte için kullandığı kaynaklara sıklıkla atıflar bulunur. Kaydettiklerine göre toplamda kırka yakın farklı icracının bizzat okuyuşundan veya sesli kaydından derleme yapmıştır. Elliye yakın notistin yazdığı ve yirmi beş kadar ayrı yayındaki notaları kaynak olarak kullanmıştır. Güftelerin tespit ve tashihi için kırk civarında divan ve antoloji gibi yayınlara müracaat etmiştir. Notlarında çoğu kez bu muhtelif kaynakların birkaçı beraberce zikredilmiştir. Kosalın notlarında en çok kullandığı referans Vakıfda okunduğu gibidir. Bizzat bu ifadeyi kullanmadığı ancak yine vakıfla bağlantısı olan pek çok isim ve anahtar kelime daha notlarda yer almaktadır. Kastedilen vakıf, kurumsal kimliği Türk Tasavvuf Musikisi ve Folklorunu Araştırma ve Yaşatma Vakfı olan Karagümrük Cerrâhî Âsitanesidir. Kosalın dini musiki notalarının ortaya çıkmasında en önemli faktör ve notaların ilk elden muhatabı olarak kullanıldıkları başlıca mahfil de burası olmuştur. Notlarda her zaman açıkça ifade edilmese de Kosalın nota yazımıyla amaçladıkları kaybı engelleme, kayda geçirme, temiz ve okunaklı hale getirme, çoğaltma, eserleri gözden geçirme ve ihtiyaç gördüğü durumlarda düzeltme şeklinde sıralanabilir. Nitel boyutu için notlar içerik analizine tabi tutulduğunda çeşitli çıkarımlar yapılabilir. Genel itibarıyla Kosalın güfte konusunda hassasiyet gösterdiği, tam ve doğru güftenin temini için çoklu ve karşılaştırmalı kaynak kullandığı görülmektedir. Eserlerin beste yönü için kullandığı kaynakların büyük kısmının, eski ya da sorunlu bile olsa, mevcut notalar olduğu tespit edilmiştir. Dolayısıyla yazdıklarının çoğu, güfte ve beste için çeşitli kontrolleri yaparak yeniden yazdığı notalardır. Notlarında da yeniden yazdım ve benzeri ifadeler sıklıkla geçmektedir. Ayrıca notlarında görüldüğü üzere Kosal kaynaklarda karşılaştığı beste ve güfte sahiplerine dair ihtilaflı durumlara açıklamalarında yer vermiştir. Kosalın notları arasında yazdığı eserden veya eserle ilişkili kişilerden bahsettiği anekdotlar nispeten azınlıktadır. Kendi bestelerinin notalarında beste tarihlerini ve bazıları için besteleme sürecine ilişkin bilgileri not etmiştir. Çalışmanın önemli sonuçlarından bir diğeri de incelenen eserlerin hiçbiri için Kosalın farklı bir versiyon notaya almamış olmasıdır. Bu tutum Kosalın yazdığı eser notalarında standartlaştırma eğilimde olduğuna işaret etmektedir. Yine Kosal notlarında eserlerin güfte, prozodi, usul, makam ve melodik seyri gibi pek çok noktaya müdahalelerde bulunduğunu kaydetmiştir. Ancak onun müdahaleleri genelde zaten oldukça problemli yapıda olan kaynaklarındaki teknik sorunları çözmeye yöneliktir. Eserleri kendi zevk ve anlayışına dönüştürmek gibi bir ideal taşımadığı anlaşılmaktadır.

 Qanun player and composer Cüneyt Kosal 1931-2018 collected a large number of sheet music during his long and prolific career, creating one of the largest archives of Turkish music. He wrote a large number of scores, either through compilation or by editing from old scores. In addition to the standard data such as maqam, rhythm, form, composer and lyricist, he recorded information such as the date and place where the notation was written, the date of composition of the work, the person from whom the work was compiled, the origin of the work if it was transferred from recorded material such as tapes or cassettes, the written sources used for the composition or lyrics, the corrections to the melody, lyrics or rhythm, the person to whom the composition was dedicated and various anecdotes about the work. In this study, Cüneyt Kosals annotations on his religious music notes, which usually contain various explanations recorded at the end of the piece, will be evaluated quantitatively and qualitatively. In this context, the accessible versions of nearly four thousand works in various forms of religious music repertoire were scanned and 842 notes written by Kosal were identified. The dates and explanatory notes on these scores are listed. Kosal recorded the date of notation in the form of daymonthyear in 792 of his notes 94 and a short or extensive explanatory note in 753 of them 89. Classified by year, the notes are concentrated in the periods 1984-86 and 1989-93. In Kosals notes, there are frequent references to the sources from which he took or compiled the work and the sources he used for the lyrics. According to what he recorded, he compiled a total of nearly forty different performers readings or recordings. He used the notes written by nearly fifty notists and in about twenty-five different publications as sources. In order to find or correct the lyrics, he used about forty publications such as divan and anthologies. In his notes, several of these various sources are often mentioned together. The most common reference Kosal uses in his notes is as performed in the Vakıf. There are many other names and keywords that he does not use, but which are also connected to the foundations Vakıf. The foundation referred to is the Karagümrük Jarrahi Lodge, whose official name is the Turkish Sufi Music and Folklore Research and Sustenance Foundation. This was the most important factor in the emergence of Kosals religious music scores and the main venue where they were primarily used. Although not always explicitly stated in the notes, Kosals aims in writing notes can be listed as preventing loss, recording, making them clean and legible, reproducing them, reviewing the works and correcting them when necessary. When the notes are subjected to content analysis for the qualitative dimension, various inferences can be made. In general, it is seen that Kosal was sensitive about the lyrics and used multiple and comparative sources to obtain the complete and correct lyrics. It has been determined that most of the sources he used for the compositional aspects of the works were existing scores, even if they were old or problematic. Therefore, most of what he wrote are the notes he rewrote by making various checks for the lyrics and composition. In his notes, the phrases rewritten and similar expressions appear frequently. In addition, as seen in his notes, Kosal included in his explanations the conflicting situations regarding the owners of compositions and lyrics that he encountered in the sources. Among Kosals notes, he mentions the work he wrote or its relation to the work. Among Kosals notes, anecdotes in which he mentions the work he wrote, or the people associated with it are relatively few. In the notes of his own compositions, he noted the dates of composition and, for some of them, information about the composition process. Another important result of the study is that Kosal did not notate a different version for any of the works analyzed. This attitude indicates that Kosal tended to standardize his notation. Again, Kosal recorded in his notes that he intervened in many aspects of the works such as lyrics, prosody, rhythm, maqam and melodic progression. However, his interventions were generally aimed at solving technical problems in his sources, which were already quite problematic. It is understood that he did not have the ideal of transforming the works into his own taste and understanding.

 Qanun player and composer Cüneyt Kosal 1931-2018 collected a large number of sheet music during his long and prolific career, creating one of the largest archives of Turkish music. He wrote a large number of scores, either through compilation or by editing from old scores. In addition to the standard data such as maqam, rhythm, form, composer and lyricist, he recorded information such as the date and place where the notation was written, the date of composition of the work, the person from whom the work was compiled, the origin of the work if it was transferred from recorded material such as tapes or cassettes, the written sources used for the composition or lyrics, the corrections to the melody, lyrics or rhythm, the person to whom the composition was dedicated and various anecdotes about the work. In this study, Cüneyt Kosals annotations on his religious music notes, which usually contain various explanations recorded at the end of the piece, will be evaluated quantitatively and qualitatively. In this context, the accessible versions of nearly four thousand works in various forms of religious music repertoire were scanned and 842 notes written by Kosal were identified. The dates and explanatory notes on these scores are listed. Kosal recorded the date of notation in the form of daymonthyear in 792 of his notes 94 and a short or extensive explanatory note in 753 of them 89. Classified by year, the notes are concentrated in the periods 1984-86 and 1989-93. In Kosals notes, there are frequent references to the sources from which he took or compiled the work and the sources he used for the lyrics. According to what he recorded, he compiled a total of nearly forty different performers readings or recordings. He used the notes written by nearly fifty notists and in about twenty-five different publications as sources. In order to find or correct the lyrics, he used about forty publications such as divan and anthologies. In his notes, several of these various sources are often mentioned together. The most common reference Kosal uses in his notes is as performed in the Vakıf. There are many other names and keywords that he does not use, but which are also connected to the foundations Vakıf. The foundation referred to is the Karagümrük Jarrahi Lodge, whose official name is the Turkish Sufi Music and Folklore Research and Sustenance Foundation. This was the most important factor in the emergence of Kosals religious music scores and the main venue where they were primarily used. Although not always explicitly stated in the notes, Kosals aims in writing notes can be listed as preventing loss, recording, making them clean and legible, reproducing them, reviewing the works and correcting them when necessary. When the notes are subjected to content analysis for the qualitative dimension, various inferences can be made. In general, it is seen that Kosal was sensitive about the lyrics and used multiple and comparative sources to obtain the complete and correct lyrics. It has been determined that most of the sources he used for the compositional aspects of the works were existing scores, even if they were old or problematic. Therefore, most of what he wrote are the notes he rewrote by making various checks for the lyrics and composition. In his notes, the phrases rewritten and similar expressions appear frequently. In addition, as seen in his notes, Kosal included in his explanations the conflicting situations regarding the owners of compositions and lyrics that he encountered in the sources. Among Kosals notes, he mentions the work he wrote or its relation to the work. Among Kosals notes, anecdotes in which he mentions the work he wrote, or the people associated with it are relatively few. In the notes of his own compositions, he noted the dates of composition and, for some of them, information about the composition process. Another important result of the study is that Kosal did not notate a different version for any of the works analyzed. This attitude indicates that Kosal tended to standardize his notation. Again, Kosal recorded in his notes that he intervened in many aspects of the works such as lyrics, prosody, rhythm, maqam and melodic progression. However, his interventions were generally aimed at solving technical problems in his sources, which were already quite problematic. It is understood that he did not have the ideal of transforming the works into his own taste and understanding.

Article Details

As Performed in the Vakıf: A Study on Cüneyt Kosal's Annotations in his Religious Music Notes

Authors:

Selman Benlioğlu

Publisher:

Hitit University

Main Topics:

Dini Musiki

Journal:

Hitit İlahiyat Dergisi Vol.23 Issue 2, pp.809-841

Document Type:

Article

Publication Date:

12/2024

Document Language:

Turkish

Document ID (Org No.):

2001336414

pISSN:

2757-6949

Turkish Religious Music

Sufi Music

Cüneyt Kosal

Notation

RepertoireTürk Din Musikisi

Tekke Müziği

Cüneyt Kosal

Notalama

Repertuvar

Issues

Article Details

Authors: Selman Benlioğlu

Publisher: Hitit University

Main Topics: Dini Musiki

Journal: Hitit İlahiyat Dergisi Vol.23 Issue 2, pp.809-841

Document Type: Article

Publication Date: 12/2024

Document Language: Turkish

Document ID (Org No.): 2001336414

pISSN: 2757-6949

Issues

Authors:

Selman Benlioğlu

Publisher:

Hitit University

Main Topics:

Dini Musiki

Journal:

Hitit İlahiyat Dergisi Vol.23 Issue 2, pp.809-841

Document Type:

Article

Publication Date:

12/2024

Document Language:

Turkish

Document ID (Org No.):

2001336414

pISSN:

2757-6949