Türk Müzik Eğitimi Tarihinde Notaci Haci Emin Bey’in “Nota Muallimi” Adli Kitabinin Yeri Ve Önemi

Abstract

Many music texts were utilized in the process of history of Turkish music and itcan be said that Ebced is one of the oldest music text known in this field. This textwas used from many music theorists like Kindi in IX th century, Farabi in X th century,Safiyuddin and Abdulkadir Meragi between XIII and XV th centuries. Until theseventeenth century to the nineteenth century ebced text is used in different ways anddeveloped by many authors (Kantemiroglu, Osman Dede, Kevseri, Abdulbaki Nasir Dede). The other music text is Hamparsum which is invented in the eighteenth centuryand used until the beginning of nineteenth century. This text is developed byHamparsum Limonciyan upon the request of Sultan III. Selim, has received greatattention by composers and reviewers. In Turkish music the oldest known Western musicnotation has been used by Ali Ufki (Albert Bobowski) in the seventeenth century. Aftertwo centuries, it can be said that Western music and note writing education startedofficially by appointment of the Italian composer Giuseppe Donizetti to Muzika-iHumayun in 1828. Teachers and students of Muzika-i Humayun has been used notewriting in Turkish Music. If the scientific publications and studies examined, commonlyknown that used note music writing in this era is suitable for the Western music soundsystem, octave is divided into 12 equal parts, without use of no extra in West notesapplied to the Turkish music. Notaci Haci Mehmed Emin Bey who is trained in Muzika-i Humayun and one of the students of Guatelli Pasha. When his book entitled “NotaMuallimi” published in 1884 is analyzed, is the first publication that octave is dividedinto 16 parts and in written notes of Turkish music pitch in terms of convenience ofTurkish music, extra alterative marks to be used are seen. In this study, it is intended toreveal examination of Notaci Haci Mehmed Emin Bey's book named “Nota Muallimi” and how note was used in (indication of pitches and rhythms) the first printed source inTurkish music education. For this purpose, Nota Muallimi which is written in OttomanTurkish is translated into Latin letters and is examined with separated by topics and theresulting data are presented in tables and figures.From Ali Ufki Bey until today writtenand printed works are searched and thereby determine used alterative marks in theseworks, the place and importance of Nota Muallimi in these works is tried to point out