AN INTERNATIONAL PREFACE ABOUT TURKISH ADWARS

ACADEMIA Letters AN INTERNATIONAL PREFACE ABOUT TURKISH ADWARS Recep Uslu The beginning of moving Turkish adwars to the international platform, if it will be with an English article, I would like this preface. The issue of Turkish adwars has not received enough attention in the field of international musicology yet. This means that there is no other example, except for the musical work (in 2004 in Germany) of Seydi, where musicologists E. Popescu-judetz pioneered the publication. Her The Catalog of Turkish Music Makams (2010), also published in English, shows that she has been interested in the subject for a long time, made great efforts and that she could only reveal Seydi’s work as a result of a long process. The editor of this work, the science historian, Fuat Sezgin, took the first step with an adwar publication of Turkish musicology internationally (Uslu-Gencoğlu 2019); this step has been a very late step. Shortly, what is adwar? Adwar means the book of music theory since the sistematist period in Turkish music history. Although pioneers such as Rauf Yekta (Doğrusöz 2018) and Suphi Ezgi know the subject of Turkish adwars, they do not provide enough information in their writings to follow their traces. While they were building the theory of Turkish music on fourth and fifth frets, they tried to determine today’s music theoretically. Undoubtedly, the Ottoman music theorist Mushakka’s attempt to explain (in 1883) the Eastern music system with a 24-sound system for the understanding of European musicologists was a pioneer. However, transforming this system into a music theory with current Turkish music maqams has been brought to a level by Ezgi and Arel and Uzdilek as a result of the process that started from Rauf Yekta. Today, this system is used in Turkish classical music education. Rauf Yekta is the first pioneer and important article about Turkish music on the international platform. His Turkish music article, consisting of a mixture of Turkish music theAcademia Letters, April 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0 Corresponding Author: Recep Uslu, /Users/recepuslu/Desktop/PREFACE ABOUT TURKISH ADWARS.pdf Citation: Uslu, R. (2021). AN INTERNATIONAL PREFACE ABOUT TURKISH ADWARS. Academia Letters, Article 664. https://doi.org/10.20935/AL664. 1 ory, maqam knowledge and music history, was published in the French encyclopedia of A.Lavigniac (in 1922). This article was the first important Turkish music article in the field of international musicology. The music managerial change policies in Turkey have continued over the twelve-tone music and music education was built on twelve-tone music. The effort to have this music, represented by Adnan Saygun, into European musicology has failed. The European musicology association did not accept Adnan Saygun, the representative of twelve-tone music, to the musicology association and pushed him into the field of ethnomusicology. But the importance of this issue has never been emphasized in Turkey. Those who have grown up in music education have worked in Orchestras and Operas as well as music instructors. They tried to show themselves in European music in the world, they achieved success. They did not care that they were pushed into ethnomusicology in Europe, never met and are not closer to other music than the music they represent in Turkey, some even hostile to them, they used phrases. While the composer and musicologist Tura Kantemiroğlu started to work on the music brand, he founded the first official Musicology Department (1976) at Istanbul Technical University. Much was expected from those who grew up in this section. But many years after Rauf Yekta’s French article, the subject of Turkish music was handled by an American. He was Karl Signell (1986). The introduction of Turkish music to the makam theory of world musicology took place very late by him. It was 60 years after Rauf Yekta. Then, Kantemiroğlu’s music collection was translated into European music by Owen Wright (1992). After this book was published, later the translation of Yalçın Tura (1996; 2000) was also published. The fact that the compositions of Acems and Hinduyan from this collection were in Istanbul style music was an important finding made by Jean During and Uslu. So far, a summary of how Turkish music theory, maqam, and music collection are handled in European musicology has been made. The subject also has a musical history aspect. As a result of a project supported by the Sema Foundation, Zev Walter Feldman wrote the Turkish Music Classical Period (1996) on the same dates. He wrote the history of XVII century Turkish music through the sources he could reach, especially based on the Kantemiroğlu and Hafız Post’s data. In Istanbul in 2005, when I told him that he ignored some resources, he said that he wrote his work with the resources he could find. Actually, what I wanted to say was that Turkish adwars with some important clues in his work were not sufficiently evaluated. Apart from Kantemiroğlu, he did not benefit from the Turkish adwars written at that time. World musicology is not yet ready to discover the values of Turkish adwars. Hiding behind Owen Wright’s (2014: 10-11) negative view on this matter does not make us musicological progress. In fact, it cannot be said that Turkish adwars, who followed the work written in PerAcademia Letters, April 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0 Corresponding Author: Recep Uslu, /Users/recepuslu/Desktop/PREFACE ABOUT TURKISH ADWARS.pdf Citation: Uslu, R. (2021). AN INTERNATIONAL PREFACE ABOUT TURKISH ADWARS. Academia Letters, Article 664. https://doi.org/10.20935/AL664. 2 sian by Yusuf Kırşehri (Doğrusöz 2012), who was one of the first pioneers, have yet attached enough importance by Turkish musicologists. It is seen that negative statements about Turkish Adwars are used (Behar 2020; Çaylı 2019: 126). Because although some studies have been carried out on Turkish adwars, a common view has not yet been obtained in a methodology that will reveal their originality. The proposal on methodology (Uslu 2009) has not become widespread, which delays revealing the values of Turkish adwars. As stated in the article published in Uslu 2009, there are many problems in front of Turkish adwars. It is impossible to overcome these problems only with the method of translation, whose authors do not prioritize the dates, original aspects, sources of their writing. The translation method started with the pioneering of academic first work on Turkish adwars. This wrong method is still ongoing. I should also mention that the word plagiarism used randomly in some studies (Işıktaş 2019: 105; Sezikli 2017: 130) about these Adwars is wrong. The transformation of Adwar’s works into a musicological system has been demonstrated sometimes by manual procedures and sometimes by conscious studies. However, it has not become a common method that those interested in Turkish musicology agree on. The absence of a common method maintains many chronological errors and misconceptions that hinder common vision and development. Chronology study on Turkish Adwars started in 2000’s (Uslu 2000; Akdoğan 2000); several articles have been published on the subject until 2019 with renewed new findings and corrections (Uslu 2009; Uslu 2019). The most important challenge of working with Turkish adwars is that they are usually in one copy. The fact that adwar is a single copy makes it difficult to analyze other problems such as the author, the date of writing, its original aspects, and to understand its value. However, despite all this, the negative evaluation of some people like Owen Wright (2014) is due to the fact that he has not followed Turkish musicological developments about Turkish Adwars for the last 20 years. This foreword, which was created while working on Turkish adwar called Marifet-i Musiki, aims to draw attention to the world musicology and also the importance of the work done over the last 20 years in Turkey, Turkish adwar it was intended to be a sign. The chronology studies of Turkish Adwars are not yet completed due to the new adwar that is found day by day, but some important research has been carried out. The most recent Turkish adwar chronology in this subject is dated 2019. Comparative studies on Turkish Adwars will minimize errors in Popescu-judetz’s mailing catalog, and publishing them in English will provide an understanding of their values in the international musicology platform. Academia Letters, April 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0 Corresponding Author: Recep Uslu, /Users/recepuslu/Desktop/PREFACE ABOUT TURKISH ADWARS.pdf Citation: Uslu, R. (2021). AN INTERNATIONAL PREFACE ABOUT TURKISH ADWARS. Academia Letters, Article 664. https://doi.org/10.20935/AL664. 3 BIBLIOGRAPHY Akdoğan, Bayram (2000). XV.Yüzyıl Edvarları. Diyanet İlmi Dergisi. Ankara Diyanet İşleri yay. Behar, Cem (2020). Orada Bir Musiki Var Uzakta XVI. Yüzyıl İstanbul’unda Osmanlı Türk Musiki Geleneğinin Oluşumu. İstanbul: YKY yay. Doğrusöz, N. (2012). Yusuf Kırşehri’nin Müzik Teorisi. Kırşehir: Valilik yay. Doğrusöz, N. (2018). Rauf Yekta Bey’in Musiki Antikaları. Ankara: Atatürk Kültür Merkezi yay. Ezgi, Suphi (1940). 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