{"id":415,"date":"2020-11-06T19:41:05","date_gmt":"2020-11-06T19:41:05","guid":{"rendered":"http:\/\/www.sirinkirsehir40.com\/40\/?page_id=415"},"modified":"2026-01-30T08:55:55","modified_gmt":"2026-01-30T08:55:55","slug":"haci-tasan","status":"publish","type":"page","link":"https:\/\/sirinkirsehir40.com\/40\/haci-tasan\/","title":{"rendered":"Hac\u0131 Ta\u015fan"},"content":{"rendered":"

\"This\u00a0 \u00a0 \u00a0 Hac\u0131 Ta\u015fan \u00a0<\/span><\/code><\/code>\"This<\/code><\/strong><\/code><\/h1>\n\n
\n
\"\"<\/figure><\/div>\n\n

\"This\u00a0 \u00a0 \u00a0 Mahalli Sanat\u00e7\u0131 ve Kaynak Ki\u015fi \u00a0<\/span><\/code><\/code>\"This<\/code><\/strong><\/code><\/h1>\n\n\n

“T\u00fcrk\u00fc Yozgat’ta do\u011far, K\u0131r\u015fehir’de oyun havas\u0131 olur, Keskin’de elenir.”<\/strong><\/p>\n\n\n\n


<\/strong>Keskin’deki folklorik olu\u015fum ve Keskin t\u00fcrk\u00fclerinin anonimle\u015fme s\u00fcrecindeki farkl\u0131 ve a\u011f\u0131rl\u0131kl\u0131 yerini vurgulayan bu s\u00f6z, bir bak\u0131ma birbiriyle kom\u015fu bu \u00fc\u00e7 y\u00f6renin karakteristik \u00f6zelliklerine de i\u015faret eder. Ger\u00e7ekten de merhum Nida T\u00fcfek\u00e7i ile en g\u00fc\u00e7l\u00fc temsilcisine kavu\u015fan “S\u00fcrmeliler” diyar\u0131 Yozgat’\u0131n k\u00fclt\u00fcrel kaynak zenginli\u011fine, Ne\u015fet Erta\u015f’la en rafine yorumcusuna kavu\u015fan K\u0131r\u015fehir t\u00fcrk\u00fclerinin canl\u0131 ve dinamik yap\u0131s\u0131na biraz yak\u0131ndan bakt\u0131\u011f\u0131m\u0131zda, Keskin t\u00fcrk\u00fclerindeki durulmu\u015f lirizmi hemen fark ederiz. \u0130cra tav\u0131r ve \u00fcslubu y\u00f6n\u00fcnden Yozgat t\u00fcrk\u00fclerine, m\u00fczikal yap\u0131 ve form itibariyle K\u0131r\u015fehir t\u00fcrk\u00fclerine yak\u0131n duran Keskin havalar\u0131n\u0131n, her iki y\u00f6re t\u00fcrk\u00fclerinin elekten ge\u00e7irilerek adeta yeni bir senteze tabi tutuldu\u011fu a\u011f\u0131rba\u015fl\u0131, klasik ezgiler oldu\u011funu s\u00f6ylemek m\u00fcmk\u00fcn.  \u0130\u015fte Hac\u0131 Ta\u015fan bu se\u00e7kin t\u00fcrk\u00fcleri, halaylar\u0131 \u00e7al\u0131p okuyan bir sanat\u00e7\u0131 olarak Keskin folklor musikisinde b\u00fcy\u00fck a\u011f\u0131rl\u0131\u011fa sahip hemen hemen tek sanat\u00e7\u0131d\u0131r. Tabii Keskin havalar\u0131 \u00fczerine yap\u0131lacak t\u00fcm estetik ve yap\u0131sal a\u00e7\u0131klamalar, bir anlamda Hac\u0131 Ta\u015fan\u0131n sanat\u0131n\u0131 tahlil anlam\u0131na da gelecektir. \u00c7\u00fcnk\u00fc Keskin t\u00fcrk\u00fcleri onunla gelmi\u015f ge\u00e7mi\u015f en usta yorumcusuna kavu\u015ftu\u011fu gibi, Hac\u0131 Ta\u015fan\u0131n ismi, sanat\u00e7\u0131 yeteneklerini sonunda kadar kulland\u0131\u011f\u0131 o g\u00fczelim Keskin t\u00fcrk\u00fcleriyle adeta \u00f6zde\u015fle\u015fmi\u015ftir.

Evet “Keskinli mahalli sanat\u00e7\u0131 Hac\u0131 Ta\u015fan\u0131 \u00fclke genelinde tan\u0131nan bir sanat\u00e7\u0131 yapan <\/strong><\/p>\n\n\n\n

k\u00fclt\u00fcrel ve m\u00fczikal ortama \u015fimdi biraz yak\u0131ndan bakal\u0131m.

<\/strong>1930’da do\u011fan Ta\u015fan, aslen K\u0131rt\u0131llar k\u00f6y\u00fcnden. K\u0131rt\u0131llar o y\u0131llarda “abdal” a\u015firetinin en yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 k\u00f6ylerden biri. B\u00fcy\u00fck bozlak ustas\u0131 Muharrem Erta\u015f da bural\u0131 ve Ne\u015fet Erta\u015f’\u0131n da do\u011fum yeri K\u0131rt\u0131llar. Bu yoksul k\u00f6y\u00fcn topraklar\u0131 hi\u00e7bir zaman insanlar\u0131n\u0131 varl\u0131kl\u0131 k\u0131lmaz, fakat d\u00fcnyan\u0131n en zengin na\u011fmelerini i\u00e7eren, en i\u00e7li, en yan\u0131k t\u00fcrk\u00fclere can verir. Bozk\u0131r\u0131n ortas\u0131ndaki bu fukara k\u00f6y, Anadolu halk m\u00fczikleri i\u00e7erisinde en orijinal renk ve anlat\u0131ma sahip bir t\u00fcr “Anadolu blues”u olarak nitelendirilebilecek bir m\u00fczi\u011fe, abdal\/a\u015firet m\u00fczi\u011fine kaynakl\u0131k eder.

Bug\u00fcn art\u0131k terkedilmi\u015f metruk bir k\u00f6y g\u00f6r\u00fcn\u00fcm\u00fcndeki K\u0131rt\u0131llar’\u0131, ba\u015fta ekmek paras\u0131 derdi olmak \u00fczere, \u00e7e\u015fitli sebeplerle zaman i\u00e7inde herkes terk eder. Hac\u0131 Tav\u015fan’\u0131n babas\u0131 Abdullah \u00c7avu\u015f’la o y\u0131llarda Hac el obas\u0131’ndan evlendi\u011fi i\u00e7in oraya g\u00f6\u00e7er. Ba\u011flamay\u0131 \u00e7ok seven bir ana ile, y\u00f6renin \u00fcnl\u00fc davulcular\u0131ndan olan Abdullah \u00c7avu\u015f’un d\u00f6rt \u00e7ocu\u011fundan biri olan Hac\u0131 Ta\u015fan, oniki ya\u015flar\u0131nda ba\u015flar saz \u00e7almaya. Babas\u0131, o zamanlar y\u00f6renin en naml\u0131 ustalar\u0131ndan olan Yusuf Usta’ya iyi bir saz yapt\u0131r\u0131r ve tutar elinden k\u00fc\u00e7\u00fck Hac\u0131’n\u0131n, o g\u00fcnlerde Seyfeli(daha sonra Barak) k\u00f6y\u00fcnde oturan \u00fcstad Muharrem Erta\u015f’a \u00e7\u0131rak verir. Ve b\u00f6ylece Hac\u0131 Ta\u015fan, bu m\u00fczi\u011fin tek ve en etkili e\u011fitim\/\u00f6\u011fretim \u015fekli olan bir ustan\u0131n yan\u0131nda \u00e7\u0131rakl\u0131\u011fa ba\u015flar.

<\/strong> Muharrem Erta\u015f’\u0131n \u00e7\u0131ra\u011f\u0131<\/strong>

<\/strong>Muharrem Erta\u015f, Hac\u0131 Ta\u015fan\u0131 yan\u0131na alarak bug\u00fcn hala bu m\u00fczi\u011fin hem \u00f6\u011frenildi\u011fi hem de en \u00e7ok icra edildi\u011fi mekanlar olan d\u00fc\u011f\u00fcnlere g\u00f6t\u00fcr\u00fcr. “D\u00fc\u011f\u00fcn \u00e7alg\u0131c\u0131l\u0131\u011f\u0131” onlar i\u00e7in \u00e7o\u011fu zaman tek ve en \u00f6nemli meslektir. Yeri gelmi\u015fken \u00f6nemli bir konuyu bir c\u00fcmleye vurgulamakta yarar var: \u00c7o\u011fu zaman bu d\u00fc\u011f\u00fcnlerdeki a\u015f\u0131r\u0131 i\u00e7ki ve sefahat ortam\u0131 bu insanlar\u0131n ruhen ve bedenen h\u0131zla y\u0131pranmalar\u0131na ve dolay\u0131s\u0131yla gen\u00e7 ya\u015flarda \u00f6l\u00fcme sebep olmakta. Merhum Hac\u0131 Ta\u015fan 1983’te vefat etti\u011finde 53 ya\u015f\u0131nda idi. Bu gelene\u011fin bir ba\u015fka usta sanat\u00e7\u0131s\u0131 merhum \u00c7eki\u00e7 Ali 39 ya\u015f\u0131nda vefat etti. Bunun \u00f6zellikle “ustalar” aras\u0131nda adeta bir kader gibi benimsendi\u011fini tespit etti\u011fimizi belirtelim. (Abdal a\u015fireti ve bozlaklar konusunda daha geni\u015f i\u00e7in Kalan M\u00fczik’in “Ar\u015fiv Serisi”nde yay\u0131nlanan “Kalkt\u0131 g\u00f6\u00e7 eyledi”adl\u0131 Muharrem Erta\u015f alb\u00fcm\u00fcn\u00fcn kitap\u00e7\u0131\u011f\u0131na bak\u0131labilir.)

<\/strong>1970 ‘lerden sonra \u00f6nce radyo ve plak, daha sonra da televizyon ve kaset gibi kitle ileti\u015fim ara\u00e7lar\u0131n\u0131 kullanarak daha geni\u015f bir pazara seslenme imkan\u0131na kavu\u015fan y\u00f6re sanat\u00e7\u0131lar\u0131, yine de d\u00fc\u011f\u00fcnlerde \u00e7almay\u0131 hi\u00e7bir zaman b\u0131rakmam\u0131\u015flard\u0131r. Bu, \u015f\u00fcphesiz ayn\u0131 zamanda arz -talep konusu.

Ve b\u00f6ylece zaman i\u00e7inde kendili\u011finden olu\u015fan o \u00e7ok b\u00fcy\u00fck mahalli \u015f\u00f6hretin dar kal\u0131plar\u0131n\u0131 k\u0131rarak geni\u015f kitlelere ula\u015fan, hatta t\u00fcm T\u00fcrkiye’ye seslenen, o y\u00f6reye mensup ilk mahalli sanat\u00e7\u0131 merhum Hac\u0131 Ta\u015fan olmu\u015ftur. Bunun hikayesini kendisinden dinleyelim: “Askerli\u011fimi 1950’de \u0130stanbul Ma\u00e7ka’da yapt\u0131m. Askere gitmeden \u00f6nce \u00e7al\u0131p s\u00f6ylemede bir hayli ustala\u015fm\u0131\u015ft\u0131m. O s\u0131ralar rahmetli Muzaffer Sar\u0131 s\u00f6z en yurdun her taraf\u0131n\u0131 gezip t\u00fcrk\u00fc derliyordu. Bir g\u00fcn \u00e7\u0131k\u0131p Keskin’e geldi. Bizi Halkevi binas\u0131nda toplad\u0131, o g\u00fcnlerde yay\u0131nlad\u0131\u011f\u0131 Folklor Saati’nde yer vermek \u00fczere se\u00e7me yapaca\u011f\u0131n\u0131 s\u00f6yledi. Keskin’de bir hafta kalarak bir\u00e7ok mahalli sanat\u00e7\u0131dan derlemeler yapt\u0131. Daha sonra seslerimizi radyoda yay\u0131nlad\u0131. Radyo ile ili\u015fkim ilk b\u00f6yle ba\u015flad\u0131. Sar\u0131 s\u00f6z en bizi daha sonra zaman zaman Ankara’ya radyoya davet ederek \u00e7al\u0131p s\u00f6yletti. Sar\u0131 s\u00f6z en’den sonra Nida T\u00fcfek\u00e7i, Mustafa Gece yatmaz ve Ali Can’larla tan\u0131\u015ft\u0131m ve radyoda programlar yapt\u0131m.”

Ne\u015fet Erta\u015f’\u0131n elinde saz\u0131 ile “radyoevine \u00e7\u0131kmak” i\u00e7in ilk defa Ankara’ya geli\u015fi de bu olaydan sonrad\u0131r: “Bakt\u0131m bir g\u00fcn radyoda Hac\u0131 emmim t\u00fcrk\u00fc s\u00f6yl\u00fcyor. Babam Muharrem ustadan belledi\u011fi bir bozlak bu: ‘Aman a\u015fa\u011f\u0131dan Yusuf Pa\u015fam gelirken gelirken \/ D\u00fc\u015fman\u0131na kar\u015f\u0131 koyan mert olur…’ \u00f6yle bir heyecanland\u0131m ki, yerimde duramad\u0131m. ‘Ben de gidip radyoya \u00e7\u0131kaca\u011f\u0131m’ dedim. ‘Madem Hac\u0131 emmimin s\u00f6yledikleri radyoda \u00e7al\u0131nacak kadar k\u0131ymetli, o zaman benim okuyacaklar\u0131m\u0131 da yay\u0131nlarlar’ diyerek elimde saz, Ankara’ya, Sar\u0131 s\u00f6z en’in yan\u0131na geldim…”tabii Ne\u015fet Erta\u015f daha sonra, Hac\u0131 Ta\u015fanla birlikte, radyoda en s\u0131k program yapan mahalli sanat\u00e7\u0131lardan biridir art\u0131k.

<\/strong> Eserleri :

<\/strong>Hac\u0131 Ta\u015fan’\u0131n repertuar itibar\u0131yla y\u00f6resinin d\u0131\u015f\u0131na pek \u00e7\u0131kmad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Ba\u015fta Keskin olmak \u00fczere, Yozgat, K\u0131r\u0131kkale, K\u0131r\u015fehir, Kaman ve \u015eerefliko\u00e7hisar gibi yerlerde dola\u015fm\u0131\u015f, buralar\u0131n bozlak ve halay havalar\u0131n\u0131, t\u00fcrk\u00fclerini kendine has bir \u00fcslupla \u00e7al\u0131p s\u00f6ylemi\u015ftir.

Son y\u0131llar\u0131nda, Pir Sultan Abdal, Deli Boran, Seyit S\u00fcleyman, Dervi\u015f Ali ve Dertli gibi halk \u015fairlerinin \u015fiirlerini \u00e7e\u015fitli formlarda ezgilendi\u011fini g\u00f6r\u00fcyoruz. Gerek s\u00f6zleri bu \u00fcnl\u00fc halk \u015fairlerinin \u015fiirlerine ait eserler, gerekse anonim karakterdeki di\u011fer eserlerine bakt\u0131\u011f\u0131m\u0131z zaman Hac\u0131 Ta\u015fan\u0131n repertuar\u0131n\u0131 form ve i\u00e7erik y\u00f6n\u00fcnden \u00fc\u00e7 ana grupta toplamak m\u00fcmk\u00fcn:

1.T\u00fcrk\u00fcler\/Semahlar

2.Halaylar\/Oyun havalar\u0131

3.Bozlaklar\/A\u011f\u0131tlar

<\/strong>Birinci kategoriye giren pek \u00e7ok t\u00fcrk\u00fcn\u00fcn yan\u0131nda, Keskin Semah\u0131 olarak da an\u0131lan “D\u00f6nd\u00fcn m\u00fc benden y\u00fcz\u00fc d\u00f6nesi” s\u00f6zleriyle ba\u015flayan eser, Hac\u0131 Ta\u015fan\u0131n repertuar\u0131nda bir istisna te\u015fkil etmekte. \u0130kinci grupta de\u011ferlendirilebilecek eserlerin en bilinenleri \u015f\u00fcphesiz “Arzu Kamber halay\u0131” ile “Bug\u00fcn ay\u0131n \u0131\u015f\u0131\u011f\u0131” adl\u0131 halay t\u00fcrk\u00fcleridir. Ba\u015fta hocas\u0131 Muharrem Erta\u015f’tan \u00f6\u011frendikleri olmak \u00fczere, Hac\u0131 Ta\u015fan\u0131n repertuar\u0131n\u0131n bozlak y\u00f6n\u00fcnden hayli zengin oldu\u011fu s\u00f6ylenebilir. “Ankara’da yedim taze meyveyi” s\u00f6zleriyle ba\u015flayan Keskin’li Sefer’in a\u011f\u0131t\u0131 ba\u015fta olmak \u00fczere “Ak\u015famdan m\u0131 ge\u00e7tin”, “Erciyes’ten duman kalkt\u0131” ve “Giyindim ku\u015fand\u0131m gittim d\u00fc\u011f\u00fcne” benzeri a\u011f\u0131t t\u00fcr\u00fcnde de hayli eser oldu\u011fu s\u00f6ylenebilir. Bunlardan s\u00f6zleri kendisine ait olan var m\u0131d\u0131r, tam olarak bilemiyoruz ancak \u00fcnl\u00fc “A\u00e7t\u0131m perdeyi de turnam\u0131 g\u00f6rd\u00fcm” bozla\u011f\u0131 i\u00e7in kendisi \u015f\u00f6yle bir hat\u0131ras\u0131n\u0131 naklediyor:

“Necati ad\u0131nda \u00e7ok sevdi\u011fim bir dostum vard\u0131. K\u0131r\u0131kkale’de hapse d\u00fc\u015ft\u00fc. Ziyaretine gider gelirdim. Bir gidi\u015fimde ‘Hac\u0131, i\u00e7erde dola\u015f\u0131rken pencereden bakt\u0131m ki bir turna kafilesi gidiyor, duyguland\u0131m, bir d\u00f6rtl\u00fck yazd\u0131m. \u015eunun sonunu da sen getir’ dedi. Bunun \u00fczerine oturup \u015fiiri tamamlad\u0131m ve saz\u0131mla da \u00e7al\u0131p okumaya ba\u015flad\u0131m”.

Tav\u0131r ve \u00fcslubu

<\/strong>Merhum Hac\u0131 Ta\u015fan\u0131n, bir Muharrem Erta\u015f gibi tiz perdelerde de ayn\u0131 g\u00fcc\u00fc ve parlakl\u0131\u011f\u0131 koruyan tiz bir sesi olmamas\u0131na ra\u011fmen, kendi rengi ve s\u0131n\u0131rlar\u0131 i\u00e7inde g\u00fc\u00e7l\u00fc bir sese sahip oldu\u011funu s\u00f6ylemek gerekir. \u00d6nemli olan daha ziyade bu sesi kullanma tav\u0131r ve \u015feklinden do\u011fan \u00fcsluptur ki, bu konuda ismi, “\u00fcslup sahibi mahalli sanat\u00e7\u0131lar” \u0131n ba\u015f\u0131nda an\u0131lsa yeridir. G\u00fcr ve dolu bir ses, sesi bazen \u00f6ne, bazen geriye atan bir a\u011f\u0131z ve nefes kullan\u0131m\u0131, \u00f6zellikle tizlerde ba\u015far\u0131yla uygulad\u0131\u011f\u0131 kafa sesi, bazen sert, bazen yumu\u015fak trillerden olu\u015fan g\u0131rtlak na\u011fmeleri ve do\u011fal vibrasyonlarla zenginle\u015fen renkli bir okuyu\u015f tarz\u0131… Ve hemen hemen b\u00fct\u00fcn bu tekniklerin ya da benzerlerinin ba\u011flamaya adaptasyonu ile ortaya \u00e7\u0131kan lirik ve canl\u0131 bir ba\u011flama \u00e7alma \u00fcslubu…

Orta Anadolu m\u00fczik gelene\u011finde kendine has bir \u00e7izginin temsilcisi olan Hac\u0131 Ta\u015fan\u0131n sanat\u0131 ile ilgili elbette \u00e7ok \u015fey s\u00f6ylenebilir. Kendisiyle beraber \u00c7eki\u00e7 Ali ve Ne\u015fet Erta\u015f gibi sanat\u00e7\u0131lar\u0131n da ustas\u0131 olan Muharrem Erta\u015f’\u0131n Hac\u0131 Ta\u015fan \u00fczerindeki bariz etkisini belirtmek gerekir. Fakat Hac\u0131 Ta\u015fan\u0131n hi\u00e7 bir zaman taklide d\u00fc\u015fmedi\u011fini, kendi tav\u0131r ve \u00fcslubunu k\u0131sa zamanda buldu\u011funu ve kendi ustal\u0131\u011f\u0131n\u0131 konu\u015fturdu\u011funu biliyoruz. Hac\u0131 Ta\u015fan\u0131n bu “nevi \u015fahs\u0131na m\u00fcnhas\u0131r” sanat\u00e7\u0131 ki\u015fili\u011fi \u00fczerinde Keskinli olmas\u0131n\u0131n a\u011f\u0131rl\u0131kl\u0131 y\u00f6n\u00fcn\u00fc vurgulamak gerekir. \u00c7\u00fcnk\u00fc Keskin Orta Anadolu’nunen zengin halay b\u00f6lgelerinden biri oldu\u011fu kadar, bu halaylar\u0131n e\u015flik saz\u0131 olan davul zurnan\u0131n da en iyi icra edildi\u011fi y\u00f6relerden biridir. Hac\u0131 Ta\u015fan\u0131n saz \u00e7alma ve t\u00fcrk\u00fc s\u00f6yleme \u00fcslubunda bariz bir davul zurna tesiri vard\u0131r. \u00d6te yandan Keskin, yaz\u0131n\u0131n ba\u015f\u0131nda vurgulad\u0131\u011f\u0131m\u0131z co\u011frafi konumu bu konumdan kaynaklanan k\u00fclt\u00fcrel zenginli\u011fini m\u00fczikal zenginli\u011fe d\u00f6n\u00fc\u015ft\u00fcrebilecek bir sanat potansiyeline her zaman sahip olmu\u015ftur. Y\u00f6redeki Alevi-Bekta\u015fi k\u00fclt\u00fcr birikimini de kendi k\u00fclt\u00fcrel potas\u0131nda eriterek ba\u015far\u0131l\u0131 sentezlerin ortaya konuldu\u011fu Keskin musiki folkloru, Hac\u0131 Ta\u015fanla en g\u00fc\u00e7l\u00fc yorumcular\u0131ndan birine kavu\u015fmu\u015ftur.

Ailesi Aslen Yozgat\/ Yerk\u00f6y’\u00fcn “teflek” abdallar\u0131ndan olan kar\u0131s\u0131 Naile Ta\u015fan, en k\u00fc\u00e7\u00fck o\u011flu Sondur Ta\u015fanla birlikte, Akdere’de, metruk bir gecekonduda kendi tabiri ile “\u00e7ile doldurmaya devam ediyor”. Fethi, Seyfettin, ve Sondur ad\u0131nda \u00fc\u00e7 erkek, Bahal\u0131, Nazl\u0131, G\u00fcler, Sevda ve Sev dur adl\u0131 be\u015f k\u0131z\u0131 olan Ta\u015fan ailesinin erkek evlatlar\u0131, atalar\u0131ndan, dedelerinden g\u00f6r\u00fcp \u00f6\u011frendikleri \u015fekilde d\u00fc\u011f\u00fcnlerde \u00e7alarak ekmek paralar\u0131n\u0131 kazanmaya \u00e7al\u0131\u015f\u0131yorlar. Ta\u015fan soyad\u0131 ile bug\u00fcn Keskin’de aktif sanat hayat\u0131n\u0131 s\u00fcrd\u00fcrenlerden Kudret Ta\u015fan ve karde\u015fleri ise Hac\u0131 Ta\u015fan\u0131n ye\u011fenleri…

Repertuar\u0131ndaki bozlaklar aras\u0131nda g\u00f6\u00e7ebe T\u00fcrkmen a\u015firetlerinden biri olan Cerit a\u015firetinin g\u00f6\u00e7 ve iskan meseleleri ile ilgili bozlaklar da bulunan Ta\u015fan\u0131n Cerit T\u00fcrkmenlerinden olma ihtimali hayli kuvvetli. \u00d6te yandan bizzat kar\u0131s\u0131n\u0131n ifadesine g\u00f6re, kendisi Ceritlerden oldu\u011funu s\u00f6ylermi\u015f. Cerit a\u015firetiyle ilgili kaynaklardaki mevcut bilgi de Ta\u015fan’\u0131n Cerit olma ihtimalini g\u00fc\u00e7lendiriyor:

“Bozulus’un Orta Anadolu’ya gelmesinden sonra ikiye ayr\u0131larak bir k\u0131sm\u0131n\u0131n Yeni \u0130l T\u00fcrkmenlerinin i\u00e7ine kar\u0131\u015ft\u0131\u011f\u0131 tespit olunan Ceritlerin di\u011fer bir b\u00f6l\u00fcm\u00fc ise Keskin havalisindeki Bozulus i\u00e7inde yer almakta idi.(…) H\u00fck\u00fcmetin Keskin havalisindeki Bozulus T\u00fcrkmenlerini Rakka b\u00f6lgesine yap\u0131lan iskana tabi tutmas\u0131n\u0131n yan\u0131nda, Beli\u00e7 nehri boylar\u0131na yerle\u015ftirilen Cerit a\u015fireti bir m\u00fcddet sonra yava\u015f yava\u015f iskan mahallini terk ederek \u00c7i\u00e7ekda\u011f\u0131, K\u0131r\u015fehir ve Bozok(Yozgat)taraf\u0131na da\u011f\u0131ld\u0131lar. Geride kalanlar ise ‘giden evlerimiz gelmedi’ diyerek \u00fc\u00e7er be\u015fer ka\u00e7\u0131p onlara kat\u0131ld\u0131. “S\u00f6zlerinin Dadalo\u011flu’na ait oldu\u011fu san\u0131lan Hac\u0131 Ta\u015fan’\u0131n s\u00f6yledi\u011fi pek \u00e7ok bozlaktan biri olan \u015fu bozlak \u00f6zellikle bunu anlat\u0131r:

<\/strong>Cerit Irakka’dan s\u00f6k\u00fcn edince
A\u00e7\u0131ls\u0131n Urum’un yolu Cerid’in
Sils\u00fcp\u00fcr o\u011flu Fettah beyim \u00f6l\u00fcnce
K\u0131r\u0131ld\u0131 kanad\u0131 kolu Cerid’in

Tanp\u0131nar ve “Billur Piyale”<\/strong>

Hac\u0131 Ta\u015fan’\u0131n \u00e7al\u0131p okudu\u011fu t\u00fcrk\u00fcler aras\u0131nda, farkl\u0131 kaynaklardan geldi\u011fi ve bir ba\u015fka k\u00fclt\u00fcrel zenginli\u011fe dayand\u0131\u011f\u0131 belli olan \u00f6yle t\u00fcrk\u00fcler var ki, bunlardan biri de elinizdeki alb\u00fcmde de yer alan “Billur Piyale” adl\u0131 eserdir. Folklor ve t\u00fcrk\u00fcler \u00fczerine hen\u00fcz a\u015f\u0131lamam\u0131\u015f titiz ve dikkatli yorumlar, bak\u0131\u015f a\u00e7\u0131lar\u0131 getiren \u00fcnl\u00fc k\u00fclt\u00fcr ve edebiyat adam\u0131 Tanp\u0131nar, bu t\u00fcrk\u00fcn\u00fcn Erzurum’da kar\u015f\u0131la\u015ft\u0131\u011f\u0131 varyant\u0131 ile ilgili, “Be\u015f \u015fehir” adl\u0131 eserinde ilgin\u00e7 yorumlarda bulunur: “Bin t\u00fcrl\u00fc acemili\u011fi, safl\u0131\u011f\u0131, i\u00e7inde bu k\u00fc\u00e7\u00fck par\u00e7a ba\u015ftan a\u015fa\u011f\u0131 incelik, zevk, lezzettir. Ger\u00e7ekten billur bir kadeh…Belki b\u00fcy\u00fck bin gelene\u011fin son tezgah\u0131nda yap\u0131ld\u0131\u011f\u0131 i\u00e7in k\u00fc\u00e7\u00fck bir \u00e7atlakl\u0131\u011f\u0131, tad\u0131n\u0131 art\u0131ran bir donuklu\u011fu var… Fakat mesela Behzad’\u0131n elinden \u00e7\u0131km\u0131\u015f bir minyat\u00fcr kopyas\u0131 gibi b\u00fct\u00fcn bir tarz, b\u00fct\u00fcn bir edad\u0131r. As\u0131l g\u00fczel taraf\u0131 bu k\u00fc\u00e7\u00fck billurdan b\u00fct\u00fcn zevki, hayat\u0131, d\u00fc\u015f\u00fcnceyi, zaman telakkisini f\u0131\u015fk\u0131rtan bestedir. Esnaf s\u0131ra gezmelerinde s\u00f6ylendi\u011fi tahmin edilen bu t\u00fcrk\u00fcye Orta Anadolu’da da rastlan\u0131yor.(…) “Billur Piyale” bizi “mahalle klasik” ad\u0131n\u0131 verebilece\u011fimiz orta s\u0131n\u0131f musikisine g\u00f6t\u00fcr\u00fcr.. “Tanp\u0131nar’\u0131n i\u015faret etti\u011fi Orta Anadolu varyant\u0131n\u0131n, bizzat Hac\u0131 Ta\u015fan\u0131n \u00e7al\u0131p okudu\u011fu eser olma ihtimali olduk\u00e7a y\u00fcksek. \u00c7\u00fcnk\u00fc bu t\u00fcrk\u00fcn\u00fcn derlendi\u011fi kaynak ki\u015fi de Hac\u0131 Ta\u015fan\u0131n kendisidir.

Kalan M\u00fczik’in “Ar\u015fiv Serisi”nden daha \u00f6nce yay\u0131nlanan Muharrem Erta\u015f alb\u00fcm\u00fc ve bundan sonra yay\u0131nlanmas\u0131 planlanan \u00c7eki\u00e7 Ali alb\u00fcm\u00fc ile, T\u00fcrk halk m\u00fczi\u011fi co\u011frafyas\u0131 i\u00e7erisinde her y\u00f6n\u00fcyle farkl\u0131 ve g\u00fc\u00e7l\u00fc bir \u00e7izgiyi temsil eden Orta Anadolu abdal\/a\u015firet m\u00fczi\u011finin en \u00f6zg\u00fcn ve rafine \u00f6rnekleri yay\u0131nlanm\u0131\u015f oluyor. M\u00fczikoloji tarihi a\u00e7\u0131s\u0131ndan oldu\u011fu kadar Anadolu halk m\u00fczi\u011fi tarihi ve genel musiki k\u00fclt\u00fcr\u00fcm\u00fcz a\u00e7\u0131s\u0131ndan da b\u00fcy\u00fck \u00f6nem arz eden bu “\u00fc\u00e7 bozlak ustas\u0131” ile ilgili \u00e7al\u0131\u015fmay\u0131 b\u00fcy\u00fck bir zevk ve heyecanla yapt\u0131\u011f\u0131m\u0131 belirtmek istiyorum. Benimle ayn\u0131 heyecan\u0131 payla\u015fan Kalan M\u00fczik sahibi ve yap\u0131mc\u0131 sevgili Hasan Salt\u0131k’a, m\u00fczi\u011fimiz ve k\u00fclt\u00fcr\u00fcm\u00fcz ad\u0131na te\u015fekk\u00fcr borcumuz vard\u0131r.

9 Mart 1983 tarihinde, ge\u00e7irdi\u011fi \u00fc\u00e7\u00fcnc\u00fc kalp krizinde 53 ya\u015f\u0131nda kaybetti\u011fimiz Hac\u0131 Ta\u015fan\u0131 bir kez daha rahmetle anarken, ayn\u0131 zamanda kar\u0131s\u0131yla teyze \u00e7ocu\u011fu olan \u00fcst ad Ne\u015fet Erta\u015f’\u0131n Hac\u0131 Ta\u015fana s\u00f6yledi\u011fi a\u011f\u0131t\u0131n i\u00e7li s\u00f6zleri ile noktalamak istiyorum:<\/p>\n\n\n

\"This\u00a0 \u00a0 \u00a0<\/strong>\"This<\/code><\/strong><\/code><\/h1>\n\n

\"ThisŞirin Kırşehir Sitesi \"This
\"This\"This<\/strong><\/p>\n

\n\"Thise-posta: ŞİRİN KIRŞEHİR İNFO<\/a>\"This
\"This Bu site Hasan \u00d6zt\u00fcrk<\/a> tarafından hazırlanmaktadır.. \"This<\/strong><\/p>","protected":false},"excerpt":{"rendered":"

\u00a0 \u00a0 \u00a0 Hac\u0131 Ta\u015fan \u00a0 \u00a0 \u00a0 \u00a0 Mahalli Sanat\u00e7\u0131 ve Kaynak Ki\u015fi \u00a0 “T\u00fcrk\u00fc Yozgat’ta do\u011far, K\u0131r\u015fehir’de oyun havas\u0131 olur, Keskin’de elenir.” Keskin’deki folklorik olu\u015fum ve Keskin t\u00fcrk\u00fclerinin anonimle\u015fme s\u00fcrecindeki farkl\u0131 ve a\u011f\u0131rl\u0131kl\u0131 yerini vurgulayan bu s\u00f6z, bir …<\/p>\n

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