Harun Korkmaz
Harun KORKMAZ, academician, music historian, singer and composer.
He was born in Narman, in 1990. He completed primary and secondary school in Istanbul. Aftermath, he had started to college education in the History Department of the University of Istanbul in 2007 and he graduated from this department in 2011. At the same year, he started the master program in the same department at the branch of the History of Ottoman Institutions and Civilization and in 2014 he accomplished his master with the thesis named as “The Catalog of Music Manuscripts in Istanbul University Library”. In 2021 he completed his PhD about “güfte mecmuaları (lyric miscellanies)”.
Harun Korkmaz has started to work as research assistant in the Research Institute of Turkology of Istanbul University in 2013. At the institute, he has been carrying out the secretary and editing mission of “Türkiyat Mecmuası (Journal of Turkology)” which one is the oldest academic journal in Turkey. He completed the classification and cataloging of the archive of Hüseyin Sadeddin Arel in the Institute. This archive includes one of the largest musical note collection of Turkish music. He was in England in 2018-2019 with the support of TÜBİTAK, as the guest of King's College London, under the supervision of Prof. Dr. Martin Stokes. He conducted a research project on musical manuscripts in libraries in London, Oxford and Manchester. Since October 2020, he has been working as a member of the Islamic Arts Science Committee in the 2nd Edition Project of the Diyanet Encyclopedia of Islam. In addition to academic works, he took a part in hundreds of programs and the concerts to introduce classical Turkish music in many countries like Germany, Switzerland, Denmark, France, Hungary, Latvia, Australia, Latvia, India, Nepal and the United Kingdom.
He was born in Narman, in 1990. He completed primary and secondary school in Istanbul. Aftermath, he had started to college education in the History Department of the University of Istanbul in 2007 and he graduated from this department in 2011. At the same year, he started the master program in the same department at the branch of the History of Ottoman Institutions and Civilization and in 2014 he accomplished his master with the thesis named as “The Catalog of Music Manuscripts in Istanbul University Library”. In 2021 he completed his PhD about “güfte mecmuaları (lyric miscellanies)”.
Harun Korkmaz has started to work as research assistant in the Research Institute of Turkology of Istanbul University in 2013. At the institute, he has been carrying out the secretary and editing mission of “Türkiyat Mecmuası (Journal of Turkology)” which one is the oldest academic journal in Turkey. He completed the classification and cataloging of the archive of Hüseyin Sadeddin Arel in the Institute. This archive includes one of the largest musical note collection of Turkish music. He was in England in 2018-2019 with the support of TÜBİTAK, as the guest of King's College London, under the supervision of Prof. Dr. Martin Stokes. He conducted a research project on musical manuscripts in libraries in London, Oxford and Manchester. Since October 2020, he has been working as a member of the Islamic Arts Science Committee in the 2nd Edition Project of the Diyanet Encyclopedia of Islam. In addition to academic works, he took a part in hundreds of programs and the concerts to introduce classical Turkish music in many countries like Germany, Switzerland, Denmark, France, Hungary, Latvia, Australia, Latvia, India, Nepal and the United Kingdom.
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Books by Harun Korkmaz
HARUN KORKMAZ
Gufte mecmuas (lyric miscellanies) are notebooks that contain evidence showing that the poems in their content were composed by using one or more of the references such as makam, usûl, composition type, composer's name. They enable the compiler to sing a musical piece in which the melody is kept in his memory, by referring to them when appropriate. In a world where music was not written, works were learned only by going to a master and 'beating the knee', and the works were kept in memory, lyric miscellanies were very important. These mecmuas were often necessary to remind the owner of the lyrics of the piece. Hundreds of lyric miscellanies, which we determined to have been used extensively in musical life since the 15th century, are in our hands today as one of the sources of music history. When lyrics miscellanies, which have not been dealt with in this respect, are examined within the framework of history discipline and in line with the methods described in this thesis, they will be able to contribute to the writing of the historiography of Turkish music.
In this study, the reasons for the composition of the lyric miscellanies and their functions in performance practice are determined. The historical development processes of the branches that are divided into genres such as fasil, şarki, tesbih, ilâhî, âyîn-i şerîf, mi'râciyye, mevlid-i şerîf were emphasised, and the historical development processes of the mentioned lyric miscellanies are discussed in terms of how it can be evaluated as a historical source with examples.
This catalog includes manuscripts at the İstanbul Üniversitesi Nadir Eserler Kütüphanesi. The catalog incorporates those manuscripts which are catalogued under Ibnulemin Collection, which is also preserved in the same library. Istanbul University Library contains 19,864 manuscripts: 9943 manuscripts in Turkish language, 6967 in Arabic, 1618 in Persian, and 81 in various languages, and the 1255 manuscripts in the Ibnulemin collection. While researching for the Catalog of the Music Manuscripts in the Istanbul University, I went through library index cards following any terms related to music. After that I also investigated all miscellaneous compilations as well as all poetry collections in order to identify texts related to music in those. When I realized that a manuscript that was catalogued as a versified hadith collection is in fact a lyrics codex, I investigated all manuscripts that preserve verse texts. In the end, for the Catalog of Music Manuscripts in Istanbul University Library I ended up scanning through almost 8500 manuscripts in order to identify those texts related to music.
The Catalog of Music Manuscripts in Istanbul University Library presents the descriptions of music manuscripts under seven headings: 1. Works on music and dance; 2. Theory and method related works; 3. Lyrics codices: a. “Fasil” compilations, b. Popular Song compilations, c. Mawlawi ayin-i sherif’s lyrics compilation, d. Hymn compilations; e. Miraciyye compilations 4. Composition notebooks; 5. Biographical dictionaries of musicians; 6. Various topics; 7. Works found in miscellaneous compositions. Under these titles 383 works are described. Four of those include discussions on religion, music and dancing, 11 on music theory, 70 various lyrics codices, 4 composition notebooks, 6 biographical dictionaries and 286 manuscripts that contain chapters or sections that are related to music. The oldest dated work among those is a theoretical work on musical modes Zeynü’l-Elhân fî İlmü’t-Te’lîf ve’l-Evzân which is dated 1484.
The Catalog of Music Manuscripts in Istanbul University Library reflects only a small portion of music manuscripts produced and/or preserved in Turkish manuscript libraries. My hope is that it will benefit researchers whose research relate to the field of Ottoman music.
Papers by Harun Korkmaz
This article contains information based on the primary sources about the Turkish female composer Dilhayat Hanım for whose life and works there is disinformation and important confusion.
HARUN KORKMAZ
Gufte mecmuas (lyric miscellanies) are notebooks that contain evidence showing that the poems in their content were composed by using one or more of the references such as makam, usûl, composition type, composer's name. They enable the compiler to sing a musical piece in which the melody is kept in his memory, by referring to them when appropriate. In a world where music was not written, works were learned only by going to a master and 'beating the knee', and the works were kept in memory, lyric miscellanies were very important. These mecmuas were often necessary to remind the owner of the lyrics of the piece. Hundreds of lyric miscellanies, which we determined to have been used extensively in musical life since the 15th century, are in our hands today as one of the sources of music history. When lyrics miscellanies, which have not been dealt with in this respect, are examined within the framework of history discipline and in line with the methods described in this thesis, they will be able to contribute to the writing of the historiography of Turkish music.
In this study, the reasons for the composition of the lyric miscellanies and their functions in performance practice are determined. The historical development processes of the branches that are divided into genres such as fasil, şarki, tesbih, ilâhî, âyîn-i şerîf, mi'râciyye, mevlid-i şerîf were emphasised, and the historical development processes of the mentioned lyric miscellanies are discussed in terms of how it can be evaluated as a historical source with examples.
This catalog includes manuscripts at the İstanbul Üniversitesi Nadir Eserler Kütüphanesi. The catalog incorporates those manuscripts which are catalogued under Ibnulemin Collection, which is also preserved in the same library. Istanbul University Library contains 19,864 manuscripts: 9943 manuscripts in Turkish language, 6967 in Arabic, 1618 in Persian, and 81 in various languages, and the 1255 manuscripts in the Ibnulemin collection. While researching for the Catalog of the Music Manuscripts in the Istanbul University, I went through library index cards following any terms related to music. After that I also investigated all miscellaneous compilations as well as all poetry collections in order to identify texts related to music in those. When I realized that a manuscript that was catalogued as a versified hadith collection is in fact a lyrics codex, I investigated all manuscripts that preserve verse texts. In the end, for the Catalog of Music Manuscripts in Istanbul University Library I ended up scanning through almost 8500 manuscripts in order to identify those texts related to music.
The Catalog of Music Manuscripts in Istanbul University Library presents the descriptions of music manuscripts under seven headings: 1. Works on music and dance; 2. Theory and method related works; 3. Lyrics codices: a. “Fasil” compilations, b. Popular Song compilations, c. Mawlawi ayin-i sherif’s lyrics compilation, d. Hymn compilations; e. Miraciyye compilations 4. Composition notebooks; 5. Biographical dictionaries of musicians; 6. Various topics; 7. Works found in miscellaneous compositions. Under these titles 383 works are described. Four of those include discussions on religion, music and dancing, 11 on music theory, 70 various lyrics codices, 4 composition notebooks, 6 biographical dictionaries and 286 manuscripts that contain chapters or sections that are related to music. The oldest dated work among those is a theoretical work on musical modes Zeynü’l-Elhân fî İlmü’t-Te’lîf ve’l-Evzân which is dated 1484.
The Catalog of Music Manuscripts in Istanbul University Library reflects only a small portion of music manuscripts produced and/or preserved in Turkish manuscript libraries. My hope is that it will benefit researchers whose research relate to the field of Ottoman music.
This article contains information based on the primary sources about the Turkish female composer Dilhayat Hanım for whose life and works there is disinformation and important confusion.