Kul Nesîmî’s Famous Nefes with ‘Kime Ne’ Rhyme: Haydar Haydar’s Centennial Journey from Lodges to Scenes

Eray Cömert

Article Details

Kul Nesîmî’s Famous Nefes with ‘Kime Ne’ Rhyme: Haydar Haydar’s Centennial Journey from Lodges to Scenes

Authors:

Eray Cömert

Publisher:

Ordu University

Main Topics:

Müzik

Journal:

Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.13 Issue 1, pp.115-158

Document Type:

Article

Publication Date:

3/2023

Document Language:

Turkish

Document ID (Org No.):

2001285614

pISSN:

1309-9302

Keywords:

Abstract:

 The musical piece which starts with the words Ben melâmet hırkasını kendim giydim eğnime and is known as Haydar Haydar, has been one of the popular repertory elements of Turkish music culture from past to present. The piece, whose lyrics are based on Kul Nesîmîs famous kime ne rhymed poem, has versions that have been performed in almost every musical genre. However, written and auditory sources indicate that different musical versions of the piece were formed in the historical process and the popular version that started to take place on gramophone recordings in the 1930s and is frequently performed in todays culture and art circles had been formed due to a certain change and transformation process. In this article, it is aimed to describe the literary and musical changes and diversity that nefes had undergone in different musical circles and as a result of interpretations by different performers, by bringing together the musical notations and sound recordings that started to appear in various archives and publications since the first half of the 20th century. In the study, it is seen that the first versions of the piece began to appear in the handwritten and printed scores prepared in the first quarter of the 20th century. The definitions ilahi and nefes in the handwritten scores reveal that the piece is a part of the religious music repertoire around İstanbul and that it was developed and became widespread in the repertoire of dervish lodges and sects. Within the framework of the possibilities offered by the sheet music and sound recordings, it is understood that the piece was shaped in different circles and as a result of the interpretations of different performers throughout the 20th century, and the music industry played a major role in the popularization of the version known today.

 The musical piece which starts with the words Ben melâmet hırkasını kendim giydim eğnime and is known as Haydar Haydar, has been one of the popular repertory elements of Turkish music culture from past to present. The piece, whose lyrics are based on Kul Nesîmîs famous kime ne rhymed poem, has versions that have been performed in almost every musical genre. However, written and auditory sources indicate that different musical versions of the piece were formed in the historical process and the popular version that started to take place on gramophone recordings in the 1930s and is frequently performed in todays culture and art circles had been formed due to a certain change and transformation process. In this article, it is aimed to describe the literary and musical changes and diversity that nefes had undergone in different musical circles and as a result of interpretations by different performers, by bringing together the musical notations and sound recordings that started to appear in various archives and publications since the first half of the 20th century. In the study, it is seen that the first versions of the piece began to appear in the handwritten and printed scores prepared in the first quarter of the 20th century. The definitions ilahi and nefes in the handwritten scores reveal that the piece is a part of the religious music repertoire around İstanbul and that it was developed and became widespread in the repertoire of dervish lodges and sects. Within the framework of the possibilities offered by the sheet music and sound recordings, it is understood that the piece was shaped in different circles and as a result of the interpretations of different performers throughout the 20th century, and the music industry played a major role in the popularization of the version known today.

 The musical piece which starts with the words Ben melâmet hırkasını kendim giydim eğnime and is known as Haydar Haydar, has been one of the popular repertory elements of Turkish music culture from past to present. The piece, whose lyrics are based on Kul Nesîmîs famous kime ne rhymed poem, has versions that have been performed in almost every musical genre. However, written and auditory sources indicate that different musical versions of the piece were formed in the historical process and the popular version that started to take place on gramophone recordings in the 1930s and is frequently performed in todays culture and art circles had been formed due to a certain change and transformation process. In this article, it is aimed to describe the literary and musical changes and diversity that nefes had undergone in different musical circles and as a result of interpretations by different performers, by bringing together the musical notations and sound recordings that started to appear in various archives and publications since the first half of the 20th century. In the study, it is seen that the first versions of the piece began to appear in the handwritten and printed scores prepared in the first quarter of the 20th century. The definitions ilahi and nefes in the handwritten scores reveal that the piece is a part of the religious music repertoire around İstanbul and that it was developed and became widespread in the repertoire of dervish lodges and sects. Within the framework of the possibilities offered by the sheet music and sound recordings, it is understood that the piece was shaped in different circles and as a result of the interpretations of different performers throughout the 20th century, and the music industry played a major role in the popularization of the version known today.

 Ben melâmet hırkasını kendim giydim eğnime sözleriyle başlayan ve Haydar Haydar ismiyle bilinen müzik eseri, geçmişten bugüne Türkiye müzik kültürünün popüler repertuvar elemanlarından biri olmuştur. Güftesi Kul Nesîmînin kime ne redifli meşhur nefesine dayanan eserin, hemen her müzik türünde seslendirilmiş örnekleri bulunmaktadır. Bununla birlikte, yazılı ve işitsel kaynaklar süreç içerisinde eserin farklı müzikal versiyonlarının oluştuğunu ve 1930lu yıllardan itibaren taş plaklarda yer almaya başlayan ve günümüz kültür-sanat ortamlarında da sıklıkla seslendirilen versiyonun belirli bir değişim ve dönüşüm sürecine bağlı olarak oluştuğuna işaret etmektedir. Bu makalede takriben 20. yüzyılın ilk yarısından itibaren çeşitli arşiv ve yayınlarda yer almaya başlayan nota ve ses kayıtları bir araya getirilerek, nefesin farklı musiki ortamlarında ve farklı icracıların yorumları neticesinde geçirdiği edebî ve müzikal değişikliklerin ve çeşitliliğin tanımlanması amaçlanmaktadır. Tümüyle arşiv araştırması ve belge karşılaştırmasına dayalı veri toplama yönteminin uygulandığı çalışmada, büyük kısmı ilk defa okuyucu karşısına çıkacak özgün arşiv belgelerine yer verilerek musiki literatürüne katkı sağlanması hedeflenmektedir. Bu amaç doğrultusunda gerçekleştirilen çalışmada, 20. yüzyılın ilk çeyreğinden itibaren hazırlanan yazma ve matbu notalarda, eserin ilk versiyonlarının yer almaya başladığı görülmüştür. Özellikle el yazması notalarda ilâhî ve nefes tanımlamalarının yer alması, eserin İstanbul çevresindeki dînî musiki repertuvarının bir parçası olduğunu ve tekke ve tarikatların repertuvarında gelişip yaygınlaştığını ortaya koymaktadır. Günümüzde popüler olan versiyonla ilgili bilgi dağarcığında melodinin kim tarafından bestelendiğine ilişkin herhangi bir kayda rastlanmazken, eserin güfte şairinin ismiyle anıldığı görülmektedir. Oysa tahminen 1900lerin ilk çeyreğinde hazırlanmış iki farklı notada, eserin Nâyî Şeyh Ali Rıza Efendi tarafından bestelendiği kaydedilmiştir. Bununla birlikte, Hafız Âşir Efendi, Hüseyin Baba, Safiye Ayla gibi icracılar tarafından kaydedilmiş taş plaklarda, benzer veya kısmen benzer ezgilerle icra edilmiş örneklerinin varlığına tesadüf edilmektedir. Notalar ve ses kayıtlarının sunduğu olanaklar çerçevesinde, eserin 20. yüzyıl boyunca farklı ortamlarda ve farklı icracıların yorumları neticesinde şekillendiği ve bugün bilinen versiyonunun popüler hale gelmesinde müzik endüstrisinin büyük rolü olduğu anlaşılmaktadır.

Article Details

Kul Nesîmî’s Famous Nefes with ‘Kime Ne’ Rhyme: Haydar Haydar’s Centennial Journey from Lodges to Scenes

Authors:

Eray Cömert

Publisher:

Ordu University

Main Topics:

Müzik

Journal:

Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.13 Issue 1, pp.115-158

Document Type:

Article

Publication Date:

3/2023

Document Language:

Turkish

Document ID (Org No.):

2001285614

pISSN:

1309-9302

Kul Nesîmî

kime ne

Haydar Haydar

nefes

ilâhî

Bektashi music

Lodge music

Kul Nesîmî

kime ne

Haydar Haydar

nefes

ilâhî

Bektâşî musikisi

Tekke musikisi

Issues

Article Details

Authors: Eray Cömert

Publisher: Ordu University

Main Topics: Müzik

Journal: Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.13 Issue 1, pp.115-158

Document Type: Article

Publication Date: 3/2023

Document Language: Turkish

Document ID (Org No.): 2001285614

pISSN: 1309-9302

Issues

Authors:

Eray Cömert

Publisher:

Ordu University

Main Topics:

Müzik

Journal:

Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.13 Issue 1, pp.115-158

Document Type:

Article

Publication Date:

3/2023

Document Language:

Turkish

Document ID (Org No.):

2001285614

pISSN:

1309-9302