Musul İstanbul Bağdat Arasında Bir Müzik Köprüsü Musullu Hafız Osman

Hafız Osman Efendi from Musul, who is an important representative of the organic bond between Sufism, literature, music and qiraat sciences, is an important figure who provided musical interaction between Istanbul and Arab countries. It is aimed to be understood by today's artists by emphasizing the services and performance style choices of Hafız Osman Dede from Mosul, as an individual from a different culture.

Hafiz Osman Efendi is not only a bridge between Turkish music and Arabic music, but also a symbol of the transition period from the Ottoman Empire to the Republic of Turkey. As a result of the political changes in the Ottoman lands during the Tanzimat and Constitutional Periods and some prohibitions in the field of music caused by the Westernization process, Turkish music culture, which was stuck between east and west, started to deform in the hands of musicians who put forward a synthesis called arabesque. In this article, it has been tried to reveal what kind of bridge Hafız Osman Efendi was, who was included in the meşk line of music masters such as Zekai Dede, Hüseyin Fahreddin Dede and Tanburi Cemil Bey, who took care of his classical music during the transition period of this painful period.

The period in which Hafız Osman Efendi lived, his environment and travels were examined and his effects on Turkish music culture were determined. The information revealed is important in that Osman Dede's intellectual identity, spiritual maturity, works and the unique performance style he developed are an example for future generations.

Osman Efendi from Mosul is one of the indicators that there is a way from imitation to investigation in music and recitation sciences. In this article, it is explained specifically for Osman Efendi, that it is possible to discover his own musical identity without being in the stage of imitation and wannabe, to develop a unique style by renewing the tradition from within without being a repeater, by adhering to the tradition.

Osman Efendi is one of the important examples where the effects of distinctive style on music can be explained clearly. Despite being of Arab origin, he adhered to the performance style in the classical Turkish music tradition in the Turkish music he composed. In the music he made in Mosul, he gave the right to be an Arab musician. Even though Osman Efendi became a master educator in the sciences of recitation in Mosul during the Quran recitation, he had enough love and respect for the culture he lived in, enough to learn the Istanbul style Quran recitation. It is among the objectives of the article to emphasize the subtext of this issue on the importance of preserving national recitation styles and understanding their value. Because every culture should have its own social and cognitive language and music tradition shaped by its genetic codes, social character, aesthetic perception, national music, language, speaking attitude and mouth structure.

This article was created by the method of literature review, data analysis and historical sources, which are among the qualitative research methods.