Cemal Reşit Rey’in “Bebek Efsanesi” Eserinin III. Bölümünün “Bebek Ninni” Türküsü ile Karşılaştırmalı Analizi

Cemal Reşit Rey, one of the first-generation composers of Turkey, started his career as a music teacher in Turkey after getting his training in one of Europe’s important music centers. As a musician, Rey attached importance to Turkish folk songs/folkloric elements and used these elements in his musi...

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Bibliographic Details
Published in:Folklor/edebiyat 2019, Vol.25 (98), p.427-449
Main Author: Özkoç, Önder
Format: Article
Language:Turkish
Subjects:
Anatolian languages
Comparative analysis
Comparative Study of Literature
Cultural Anthropology / Ethnology
Edebiyat
Eğitim Bilimleri
Folk music
Music
Plot (Narrative)
Poetry
Songs
Tarih
Theory of Literature
Turkish Literature
Türk Dili
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Summary:Cemal Reşit Rey, one of the first-generation composers of Turkey, started his career as a music teacher in Turkey after getting his training in one of Europe’s important music centers. As a musician, Rey attached importance to Turkish folk songs/folkloric elements and used these elements in his music widely; this tendency can be seen on his introductory writings consisting of analysis of Turkish folk songs, which were published in 3 and 4. fascicules of Anatolian Folk Songs of Darülelhan Complete Works-one of the first collection of folk songs in Turkey. Rey has analyzed folk songs published on that volume and laid emphasis on these materials for composers. He composed “Bebek Efsanesi (Baby Legend)” symphonic poem in 1928 on baby narrative in Turkish Folk Culture and used many folk songs in this music. He used the folk song called “Bebek Ninni (Lullaby)” (which was published in the 7. fascicule of Anatolian Folk Songs of Darülelhan Complete Works) in the last movement of his work.
ISSN:1300-7491
DOI:10.22559/folklor.843