Traces of Representative Reading in Classical Mawlid Performance
Murat Cemalettin NecipoğluIn terms of its musical aspect, the “science of representative reading” is extremely noteworthy in the recitation of the Quran. The relevance of the science of representative reading with the improvisational performance technique and its relevance with the classifications of otherworldly, descriptive and garam modes, each of which reflects different emotions, show that this science can also be applied in the classical performance of the mawlid. Indeed, while the modes are shaped according to the meanings of the verses in the science of representative reading of the Quran recitation, it is possible to say that the modes are performed in the same way in the mawlid text. However, of course, this similarity in both forms is in terms of its musical aspect. Because the Quran and the mawlid cannot be compared in terms of the content of the text. However, since it is a masterpiece about the life of the Prophet and also touches upon many issues of faith and belief in its content, it is possible to extend the science of representative reading to the performance of the mawlid. In this study; It is briefly mentioned that the Quran is not a human text, the role of literature and rhetoric in making the divine address unique and its miraculous aspect. The improvisational performance technique and representative reading issues are superficially conveyed due to their relevance to both performances. Finally, the literary style and performance of Süleyman Çelebi’s mevlid are conveyed and the couplets of the mawlid suitable for representative reading for each chapter are presented.
Klasik Mevlit İcrâsında Temsilî Okuma İzleri
Murat Cemalettin NecipoğluMûsikî yönü itibariyle “temsilî okuma ilmi” Kur’an-ı Kerim tilâvetinde son derece kayda değerdir. Temsilî okuma ilminin doğaçlama icrâ tekniği ile ilintisi ve her biri farklı duyguları yansıtan uhrevî, tasvîrî ve garâmî makamlar şeklindeki sınıflandırmalarla olan alakası bu ilmin klasik mevlit icrasında da uygulanabileceğini göstermektedir. Nitekim Kur’an tilâveti temsilî okuma ilminde makamlar ayetlerin anlamlarına göre şekillenirken makamların mevlit metninde de yine aynı şekilde icra edildiğini söylemek mümkündür. Lâkin elbette her iki formdaki bu benzerlik mûsikî yönüyledir. Zira metin içeriği açısından Kur’an-ı Kerim ile mevlit kıyaslanamaz. Ancak Hz. Peygamber’in hayatını konu alan bir şâheser olması ve aynı zamanda içeriğinde birçok imânî ve itîkâdî konuya değinmesi dolayısıyla mevlidin icrasına da temsilî okuma ilmini teşmil edebilmek mümkündür. Bu çalışmamızda; Kur’an-ı Kerim’in beşerî bir metin olmadığına, edebiyat ve söz sanatlarının ilâhi hitâbı eşsiz kılmadaki rolüne ve bunun mucizevî yönüne kısaca değinilmiştir. Her iki icrâ ile alakası dolayısıyla doğaçlama icrâ tekniği ve temsilî okuma konuları yüzeysel olarak aktarılmıştır. Son olarak Süleyman Çelebi mevlidinin edebî üslûbu ve icrası aktarılmış ve mevlidin her bir bahir için temsilî okumaya uygun beyitleri ortaya konmuştur.
The position of the recitation of the Holy Qur’an and the classical mawlid performance in Turkish Religious music is very clear due to the sciences they contain in themselves and some of the characteristics they possess. What makes these two important forms of Turkish religious music important and places them at the top of the list are some artistic elements and their combination. However, the main factor in the recitation of the Holy Qur’an, which refreshes the heart, gives relief to the souls and makes the transmission of the divine address eloquent in terms of meaning, and in the performance of the classical mawlid, which sprinkles the flavour of the melodic melodies integrated with love and affection through the literary arts in its content, is undoubtedly the art of music. In the forms in question, it is quite possible to encounter these elements, which can be encountered as a branch of science, as a sub-branch of a science. The example of ‘the unity of poetry and music’ is extremely descriptive both in terms of its inclusiveness of these two forms and in terms of its characteristic of including the above sentences.
Therefore, based on the example we have given and the last sentence we have quoted, it is unthinkable that the Holy Qur’an, which is a supra-textual text, should be excluded from the broad perspective of the science of literature, and it is also unthinkable that it should be deprived of the science of music despite the recommendation of the Prophet, the owner of good taste, who drew attention to music with his hadith ‘Beautify the Qur’an with your voices’ and many hadiths in this vein. Just as the Prophet showed great sensitivity to the science of tajweed in the recitation of the Qur’an to prevent any prejudice to the meaning or eloquence of the Qur’an, the sensitivity shown to the science of music is not inferior to this. The fact that the Qur’an has been compiled by the Qiraat scholars under the title of ‘Representative Reading’ by the Qur’anic scholars, taking into account its association with the science of tajweed, constitutes a good example in terms of being related to this.
In the context of the sentences so far, music is a common denominator in Qur’anic recitation and classical mawlid performance. In this respect, it is not surprising that the improvisation technique, which is a technique related to music and overlaps with the above sentences, has come to light as it is an important element in both forms. The fact that this technique, which is called ‘irticâlî’ in Turkish Religious music because it is a technique used in both forms, performs a similar function in both forms means that at this point they meet on a common ground. In fact, it is possible to say this for other Turkish Religious music forms where improvised performance techniques are used, and even for all Turkish music forms.
The importance of the improvisation performance technique, which has such a short definition that it can be reduced to two words as ‘instant composition’, in the art of music is due to the fact that it is a special talent endowed to an artist or any performer. Because imagination, productivity, the power to manage emotions, etc. are the characteristics of performers who can only be successful in this performance, and it is very difficult to exhibit these characteristics at the moment of performance. From this point of view, when we look at the recitation of the Holy Qur’an and the performance of the classical mawlid, we come across the fact that the main element to be considered when improvising the Holy Qur’an is the science of tajweed. Because it is not a text and it is a book sent by Allah (swt) to all humanity, it is possible that the slightest mistake caused by improvisation may distort the meaning. A performer who improvises the classical mawlid performance will undoubtedly pay attention to the science of literature. Therefore, both the karis who recite the Holy Qur’an and the mawlithans who perform the mawlits should be familiar with the sciences of music and literature, as well as the improvised performance technique, which can be described as an important tool of music.
Finally, in the science of music, it is known that each maqamqa’ evokes different emotions with its melodic sensations and characteristic structures, and for this reason it is even categorised into various classes. Although this classification is extremely important in all improvised performances, it is a little more important in representational recitation, which is essential in the recitation of the Holy Qur’an. Because each of the verses in the representative recitation gives a different message, it may require performance with modes that reflect sadness in some verses and express good news and joy in others.
