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Ney Instrument and HistoryBefore moving on to the history of the ney instrument, let's talk about a little music history: We can define people's hands as their first music exercises and t heir applause as the first musical activities. Later, they developed feelings of rhythm by striking each other the substances in the nature (by hitting the stones, making noises from the tree fragments). Over time, the science of music took a more disciplined form and rhythm instruments emerged. Wind instruments to attend the ceremonies later and to make various shows and other stringed instruments have been invented, which is mainly Cheng.
Cheng : In history, we see the ÇENG instrument as a 21 string instrument during the Sumerians. 
Soviet Scientists Rudenko and Griaznov found this instrument as a result of researches and excavations in the Altai's Pazırık and Başadar valleys.
Ney :2739/5000 Dear Ney lovers, Neyzenler and researchers; It is impossible to make music, which is one of the oldest branches of art in human history, to a certain society. When, where, how, for what purpose and by whom music is not known exactly, It is assumed that it appeared simultaneously with human history. As we have mentioned, although the history of music dates back to older times, the first written examples of music in Ancient Age and Anatolia belong to the Sumerians. Migrating to Mesopotamia in the 4th millennium BC and inventing the writing in 3200 BC This society, which carries Mesopotamia to the written history stage, has an important place in the history of music. For example, Kramer talked about the existence of musical inscriptions belonging to the Sumerians and found in Anatolia. In Sumerian society, music was performed in religious rituals, mothers sang lullabies to put their babies to sleep, agricultural workers also muttered songs while doing their jobs. Sumerian music was somewhat shaped by the Babylonians of the Sami race who came to Mesopotamia through immigration, Assyrians, on the other hand, regularly brought together existing musical experiences. Music, which has an important place in Mesopotamia, is believed to have origins in God, therefore, music was performed at all religious ceremonies in the region. It is understood from the written documents of Mesopotamia that there are many fields related to music. For example; Various musical performances took place in the cult practices of the New Year feast, the banquet and sacred marriage ceremonies held during the feast. Phrygians are also highly developed in handicrafts and music. In Ancient Greek Civilization; In Aristotle, he talked about the positive effects on personality and recommended that music be included in the education of children. Also; Music was performed not only in joyous events, but also in serious social events like wars, The power of music was used to command and encourage soldiers. For example; While the second Messene war continues with all its difficulty, War songs composed by the poet Tyrtaios encouraged the Spartans to enter this war. In addition, in ancient Greek Civilization; Plato states that shepherds relieved their troubles by using instruments called syrinks. In Ancient Greek Civilization; Before the start of the game, by blowing on the salpinks instruments, it made the audience quiet to come to watch the game. Although we obtained this information about music, especially the work of Herodotos History, Unfortunately, we did not come across any information about the Ney instrument. However, we know some of the wind instruments used before in the Ancient Greek Civilization;
Aulos : Aulos, which means reed or pipe in ancient Greek, is the most important wind instrument performed.
Syrinx ( Panflüt ) : Syrinx is one of the most recognizable instruments in Greek society after aulos is mounted next to each other just like a raft.
Salpinx (Borazan) :791/5000 Salpinx, a wind instrument, consisted of a thin cylindrical metal tube. With this feature, it is considered the ancestor of the trumpet and trumpet used today. Especially the loudness of his voice enabled the crowd to command from long distances. Due to this feature, it has been used as an inevitable sign instrument by the armies until almost modern times. There are ancient sources indicating that the instrument in question, like other romantic instruments, was played gently. Salpinktes would put the other hand under his chest or hip while playing the instrument with one hand. This move was probably to enable the difficult playing of the instrument. In the picture below, you can see the Salpinx instrument in different shades.
References: T.C. SÜLEYMAN DEMİREL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ TARİH ANABİLİM DALI ESKİ YUNAN DÜNYASINDA MÜZİĞİN KULLANIM ALANLARI Yazan, Mesut KINACI : YÜKSEK LİSANS TEZİ Eski Yunan Dünyasında Müzik ve Müzisyenler Yazar: Mesut KINACI We think that the ney instrument was found after these wind instruments. Because none of these history books are included in the Ney instrument. Just as an assumption, We can say that ney reed first used the Sumerians in Mesapotamia, the cradle of civilization (the region between the Tigris and the Euphrates rivers). Since the Sumerians ruled between 3500-2000 BC as of history, the origin of Neyin dates back to 3000 BC. Egyptian historians base Ney's invention on God Osiris (the first time in Egypt, the God of the resurrection for immortal life). They named the neys that were blown by keeping them right, and Mami, the ones that were blown by keeping the curve. Double neys were also found in Egyptian civilization. Women played this kind of Ney. In the Torah, a kind of Ney, whose name is mentioned as Hagub, is mentioned. In the years of 1249 BC, there is a double-pipe whistle which is said to have been brought to China by Şan-Kiyen. This instrument is still used in Central Asia today. This Ney, called Koş-Ney, is the ancestor of Neyin, which we know in other words. In the history, Ney figures are also found in various reliefs of Uyghurs (Foundation: 744). In addition, from the Ney instrument in Kaşgarlı Mahmut, Divânu Lügati't-Türk (written between 1072-1074),
The oldest known Ney instrumentsSOURCE: HISTORY AND TECHNICAL DEVELOPMENT OF THE NEY OPENING DOCTORATE THESIS Prof. Dr. ALI TAN Topkapi Palace Museum Collection; The oldest known Ney, The oldest Ney in the Topkapi inventory is dated 1718. The ney was opened by Dervish Karabaş Mehmed for Sultan Ahmed III's Bevvab Mehmed, It is understood from the record on what. This ney is the oldest ney identified in Turkish museums. In addition, except for the ney numbered 3376 in the museum, there is no baspare in any ney. Therefore, for pitch analysis, it is standard on the baspareless neys. 1.9 cm thick head pieces were used.
Galata Mevlevi Lodge Museum Archive The oldest ney in the museum inventory belongs to Mustafa Kevseri. Ney is one of the oldest Neys that has survived to the present day, dating back to 1735. The museum also has three neys with the Gavsi stamp.
Mevlana Museum Collection Abdurrahman Şakir Bey (Abdulaziz's Chamber) 1869 Ney was presented by Emel Feza. Neyzen Salim Bey 1870 Ney was presented by Cemil BÜYÜKAKSOY. Neyzen Aziz Dede 1870 Ney was presented by Neyzen Şevki SEVGİ.
Niyazi Sayin Collection The most important representative of the Ney school, which dates back to the time of Selim III. There are two historical neys in Neyzen Niyazi Sayın's personal collection. These two Ney players, belonging to Neyzen Aziz Dede and Kazasker Mustafa İzzet Efendi, are mansur Neys (1838) Some of the frets of the neys were shifted by Niyazi Sayın (1870) The neys are in good condition and have horn baspares made by Niyazi Sayın.
Nuri Uygun Collection From the faculty members of Marmara University Faculty of Theology There is one historical Ney in the collection of Assoc. Prof. Dr. Nuri Uygun. The Ney, which is in Mansur tune, belongs to Neyzen Emin Dede and is very well-maintained. The Ney you see has survived from 1883-1945 to the present day.
Aziz Şenol Filiz Collection A retired Ney Artist of Istanbul State Classical Turkish Music Choir There are 4 historical Neys in Aziz Şenol Filiz's collection. The Neys in the collection are as follows: The ney number 1 in Aziz Şenol Filiz's collection is in the mansur (La) tone. It is known that the Ney belonged to Hasan Dede, who was the Neyzenbaşı during the post of Mehmet Saib Çelebi (d.1812) in Kütahya Mevlevihanesi. It is known that Saib Dede, who was Hasan Dede's Sheikh, whose life we cannot find any information about, passed away in 1812. For this reason, it would be correct to date the Ney between 1750-1820. The mansur Ney belonging to Hasan Dede was given by Neyzen Şevki Sevgin to Neyzen Sencer Derya; It was transferred to Aziz Şenol Filiz through Sencer Bey. Mansur Neys of Izmirli Celal Dede and Kütahya Mevlevihane dervish Hasan Dede. It is not known who owns one ney. The Aziz Şenol Filiz collection is in the Mansur tone. The external structure of the mansur ney, which was inherited from the Aka Gündüz Kutbay collection, is similar to Aziz Dede's mansur ney in the Konya Mevlevihane. The ney was given to Aziz Şenol Filiz by Aka Gündüz's son Hakan Kutbay.
Sumerians (3500 - 2000 BC) Since the musical culture was at an advanced level in Sumerians, it is assumed that the Ney instrument came from there. Sufi mystic Ferittin-i Atar, on the other hand, dates the origin of the Ney to the time of Hazrat Muhammad. Hazrat Muhammad told his son-in-law Hazrat Ali about some spiritual secrets one day and told him to keep them a secret. Hazrat Ali could not hold his tongue and went and shouted these secrets into a well. Allah created a long reed in that well and one day a shepherd who was herding camels saw the reed in the well and cut it and made a Ney. Our Prophet saw the shepherd blowing the Ney and listened to it. Our Prophet heard the secrets that the Ney sang as a melody from the reed and asked his son-in-law: "Did you tell our secrets to the Well?" Hazrat Ali also confessed that he had told them. We can compare the story written in the book of Sufi Ferittin-i Attar to the famous Legend of Midas' Ears.
Ney in Miniatures and Engravings: Miniature and engraving examples also give us information about Ney. In the Topkapı Palace Museum, especially in the work called Süleymannâme written by Hayreddin Paşa, in the work called Surnâme prepared by Nakkaş Osman, there are a total of 13,533 miniatures in different books, albums and plates. The miniatures alone are collected in 451 volumes of books and albums. In the miniature below, we see a miniature example made in 1558 and found in the work called Süleymannâme. Süleymannâme is a work of art that tells the events from the accession of Kanuni Sultan Süleyman to 1558. There are 69 miniatures in Süleymannâme. The author of the work is Fethullah Arif Çelebi. The length of the ney is estimated to be approximately 60-65 cm. Both Neyzens are blowing their Neys with the right hand on top. We can see the baspare of both Neys. This miniature is located in the Topkapi Palace Museum. You can enlarge the image by clicking on it.
One of the most important works of Classical Ottoman miniature art is Surname. The subject of Surname is the magnificent wedding that Sultan Murat III prepared for the circumcision ceremony of his son Prince Mehmet. This wedding, to which representatives of foreign countries were also invited, lasted 52 days in order to show the power of the Empire to the world countries. Surname was prepared for Sultan Murat III in 1582. It is recorded that the work was made with 250 miniatures by Nakkaş Osman and his team, but some pages are missing. In the miniature below, you can see the Neyzen and other instrumentalists. (Topkapı Palace Museum Intizami Surname-i Hümayun) You can enlarge the image by clicking on it.
The miniature we see below is also an example of a circumcision ceremony in the Ibrahim Pasha Palace. The miniature shows a group performing shows related to the wedding and making music in the square. There are two Neyzens in the miniature. You can enlarge the image by clicking on it.
We see Lala Mustafa Pasha and the musicians in the work below. This miniature is in Mustafa Ali's work called Nusretname. It is a miniature made during Lala Mustafa Pasha's stopover in Konya during his eastern journey. The work is still in the Topkapi Palace Museum. You can enlarge the image by clicking on it.
In the miniature below, we see a group of musicians playing music in the presence of Sultan Ahmet III in Okmeydanı. The Neyzens, unlike the other miniatures, also wear Sikke on their heads. However, this music group should not be considered as a Mevlevi Classical Saz group. You can enlarge the image by clicking on it.
Although the work below has nothing to do with the Ney, we are presenting it because it is an important engraving example. This work, located in the Süleymaniye Library (Istanbul), shows the diversification of Ottoman visual culture in line with social fears and expectations. As you can see in the work, the angel Israfil is depicted blowing the Trumpet on the Day of Judgment. You can enlarge the image by clicking on it.
In the work below, we see a miniature of Levni's musicians. As you can see in this work consisting of four women, t he instruments called zurna, pan flute, tanbur and daire are used. The work is a Levni classic made in 1720-1730. It is exhibited in the Topkapi Palace Museum. You can enlarge the image by clicking on it.
As you can see in the miniature below, there are two Neyzens. Both hands of the Neyzens are on the frets of the Ney. They hold the Ney straight as if they were playing the clarinet. The miniature is around 8x6.4 cm in size. We come across this miniature in the collection of odes, which is called Külliyati Katibi. Külliyati Katibi consists of 271 pages. T he miniature shows the Sultan having fun with his entourage. You can enlarge the image by clicking on it.
R.989 manuscript name in Topkapi Palace Museum Library: Külliyatı Katibi, author Şemseddin Muhammed B.Abdullah Nişapuri here we see the instruments Çeng, Def and Ney. (Bottom Picture) Y ou can enlarge the picture by clicking on it.
In the book called Codex Vindobonensis, which was in the Vienna-Austrian National Library in the 1500s, there is an engraving of a female ney player. (Bottom Image) You can enlarge the image by clicking on it.
After the conquest of Istanbul, Orientalist painters were also influenced by Ney, Neyzen and Semazen. They made many paintings about tambur, tambourine and oud instruments. Here is an example of these works: A painting called Whirling Dervishes by French painter, sculptor and teacher Jean Leon Gerome, who lived between May 11, 1824 and January 10, 1904 You can enlarge the painting by clicking on it.
Ney is currently used in the Gulf countries, especially in the Republic of Turkey. These countries are Saudi Arabia, Bahrain, Qatar, Iraq, Kuwait, the United Arab Emirates, Iran, and Oman. The Ney instrument is mostly played without a bass-piece in these countries. I t is also used in the Middle East countries. These countries are Syria, Iraq, Qatar, the Turkish Republic of Northern Cyprus, Jordan, Israel, Palestine, Lebanon, Iran, Saudi Arabia, United Arab Emirates, O man, Kuwait, Bahrain, Yemen, Egypt, Afghanistan, Pakistan, Tunisia, Algeria, Libya, Sudan, and Morocco. There are also many Neyzens in Greece, t he United States, and France. Recently, it has been used as a color instrument not only in Classical Turkish Music and Sufi Music performances, but also in Folk music, Pop music, Fantasy music style and various types of market music, i n world music genres such as Reggae, Lounge, Chill Out. Alıntıları Kaynaklar sayfamızdan görebilirsiniz. © www.neyzenim.com Neyzen Zeki Sözen |
