GÜZ 2017 52 SAYI 16 MEVLEVÎ AYİNLERİNDE “SÖZ-BOYAMA” İZLERİ 1 Elif ÖZEN 2 Ozan BAYSAL 3 Abstract Word-Painting Instances in Mevlevî Music Today the structural musical analysis studies on Turkish makam music generally encompass a detailed description of the elements such as pitch, çeşni, makam, prose, poetic meter and form. These analyses, which prefer a more descriptive and illustrative approach to the work, do not make any aesthetic assessment based on the interaction of such structural elements and how this interaction network contributes to the total musical effect of the work itself. In addition to this, while some of the analyses seem to involve the relationship between lyrics and music, these investigations are usually about the compatibility of poetic meter with the usûl (rhythm) and how these rhythmic elements are used within the makam. There is little to say about how the lyrics, in terms of their literal and symbolic meanings are refected on the musical structure, and there are no studies on the semantic relations between the words and music. However, Turkish makam music, throughout its history has been an art form that has developed together with its literature. This study will present an investigation of the question of whether there are any instances of word-painting in Mevlevî Ayin Music. Although the idea of the harmonious unifcation of the literal content with music existed since late Antiquity (as in Plato and Confucius), it was during the 15th century that the term word-painting became a popular device of musical expression in Western music. Basically, word-painting is the deliberate shaping of music by the composer in order to refect and imitate the meaning of the poetry. Such an association of the extra-musical with the musical was attained through the intentional changes in the musical fow, either by the changes in the melodic shape and direction, harmony, rhythm or musical texture. It is seen that this technique, which was mostly encountered in the vocal genres such as madrigal in the beginning, also found its place in the opera genre in later periods and by gradually penetrating into the instrumental repertoire, contributed to the development of program music genre of 19th century Europe as well. One wonders whether there is a conscious or semi-conscious usage of a similar technique by the composers in the history of makam music. A good place to start such an investigation will be the Mevlevî Ayin music repertoire, as it not only includes lyrics with literal content related with the meaningful symbols of sufsm (mostly borrowed from Mevlana Jalaluddin Rumi’s “Mesnevi ” and “Divan-ı Kebir ”), but also that its successive 1 Birinci yazarın lisans bitirme ödevinde yer alan bulgulardan hareketle hazırlanan bu çalışma, Türkiye Bilimsel ve Teknolojik Araştırma Kurumu, TÜBİTAK (Proje No: 117K383) tarafından desteklenmektedir. 2 İstanbul Teknik Üniversitesi, Müzik İleri Araştırmalar Merkezi (MIAM), Müzik Yüksek-Lisans Programı. ozen.e@hotmail.com 3 Doç. Dr., İstanbul Teknik Üniversitesi, Türk Musikisi Devlet Konservatuarı, Müzikoloji Bölümü. ozanbaysal@ yahoo.com