15 bin kişi siktir git desinnnnnnnnnnnnnnnnnn

until recently, the word "modern" used to refer generically to the contemporaneous; all art is modern at the time it is made. in his book of the art ("the book of the art") in 1437, cennino cennini explains that giotto made painting "modern" [see bibliography]. giorgio vasari writing in 16th-century italy refers to the art of his own period as "modern." [see bibliography]

these truths more often than not flew in the face of conventional beliefs, especially those held by the church. for example, contrary to what the church had maintained for centuries, the "truth" was that the earth revolved around the sun. the idea that "truth" could be discovered through the application of reason was tremendously exciting.

the open-minded 18th-century thinker believed that virtually everything could be submitted to reason: tradition, customs, history, even art. but, more than this, it was felt that the "truth" revealed thereby could be applied in the political and social spheres to "correct" problems and "improve" the political and social condition of humankind. this kind of thinking quickly gave rise to the exciting possibility of creating a new and better society.

the "truth" discovered through reason would free people from the shackles of corrupt institutions such as the church and the monarchy whose misguided traditional thinking and old ideas had kept people subjugated in ignorance and superstition. the belief was that "the truth shall set you free." the concept of freedom became central to the vision of a new society. through truth and freedom, the world would be made into a better place.

progressive 18th-century thinkers believed that the lot of humankind would be greatly improved through the process enlightenment, from being shown the truth. with reason and truth in hand, the individual would no longer be at the mercy of religious and secular authorities which had constructed their own truths and manipulated them to their own self-serving ends. at the root of this thinking is the belief in the perfectibility of humankind.

the vision that began to take shape in the 18th century was of a new world, a better world. in 1763, jean-jacques rousseau proposed a new society for the individual in his inquiry into the nature of the social contract. rousseau declared the right of liberty and equality for all men.

such declarations were found not only in books. in the 18th century, two major attempts were made to put these ideas into practice. such ideas, of course, were not popular with conservative and traditional elements, and their resistance had to be overcome in both cases through bloody revolution.

the first great experiment in creating a new and better society was undertaken in what was literally the new world and the new ideals were first expressed in the declaration of independence of the newly founded united states. it is enlightenment thinking that informs such phrases as "we hold these truths to be self-evident" and which underpins the notion "that all men are created equal." its wordly character is clearly reflected in its stated concern for man's happiness and welfare in this lifetime, a new notion that runs counter to the christian focus on the afterlife.

fundamental, too, is the notion of freedom, liberty; it was declared one of man's inalienable rights. in 1789, the french also attempted through bloody revolution to create a new society, with the revolutionaries rallying to the cry of equality, fraternity, and liberty.

the french revolution, however, failed to bring about a radically new society in france. mention may be made here of a third major attempt to create a new society along fundamentally enlightenment lines that took place at the beginning of the 20th century. the russian revolution, perhaps the most idealistic and utopian of all, has also failed.

it is in the ideals of the enlightenment that the roots of modernism, and the new role of art and the artist, are to be found. simply put, the overarching goal of modernism, of modern art, has been the creation of a better society.

what were the means by which this goal was to be reached? if the desire of the 18th century was to produce a better society, how was this to be brought about? how does one go about perfecting humankind and creating a new world?

as we have seen, it was the 18th-century belief that only the enlightened mind can find truth; both enlightenment and truth were discovered through the application of reason to knowledge, a process that also created new knowledge. the individual acquired knowledge and at the same time the means to discover truth in it through proper education and instruction. cleansed of the corruptions of religious and political ideology by open-minded reason, education brings us the truth, or shows us how to reach the truth. education enlightens us and makes us better people. educated enlightened people will form the foundations of the new society, a society which they will create through their own efforts.

until recently, this concept of the role of education has remained fundamental to western modernist thinking. enlightened thinkers, and here might be mentioned for example, thomas jefferson, constantly pursued knowledge, sifting out the truth by subjecting all they learned to reasoned analysis. jefferson, of course, not only consciously cultivated his own enlightenment, but also actively promoted education for others, founding in charlottesville an academical village that later became the university of virginia. he believed that the search for truth should be conducted without prejudice, and, mindful of the enlightenment suspicion of the church, deliberately did not include a chapel in his plans on the campus. the church and its narrow-minded influences, he felt, should be kept separate not only from the state, but also from education.

in this way, the prevailing conservative ethos of society maintained control over the impulses of progressive modernism.

until recently, the word "modern" used to refer generically to the contemporaneous; all art is modern at the time it is made. in his book of the art ("the book of the art") in 1437, cennino cennini explains that giotto made painting "modern" [see bibliography]. giorgio vasari writing in 16th-century italy refers to the art of his own period as "modern." [see bibliography]

these truths more often than not flew in the face of conventional beliefs, especially those held by the church. for example, contrary to what the church had maintained for centuries, the "truth" was that the earth revolved around the sun. the idea that "truth" could be discovered through the application of reason was tremendously exciting.

the open-minded 18th-century thinker believed that virtually everything could be submitted to reason: tradition, customs, history, even art. but, more than this, it was felt that the "truth" revealed thereby could be applied in the political and social spheres to "correct" problems and "improve" the political and social condition of humankind. this kind of thinking quickly gave rise to the exciting possibility of creating a new and better society.

the "truth" discovered through reason would free people from the shackles of corrupt institutions such as the church and the monarchy whose misguided traditional thinking and old ideas had kept people subjugated in ignorance and superstition. the belief was that "the truth shall set you free." the concept of freedom became central to the vision of a new society. through truth and freedom, the world would be made into a better place.

progressive 18th-century thinkers believed that the lot of humankind would be greatly improved through the process enlightenment, from being shown the truth. with reason and truth in hand, the individual would no longer be at the mercy of religious and secular authorities which had constructed their own truths and manipulated them to their own self-serving ends. at the root of this thinking is the belief in the perfectibility of humankind.

the vision that began to take shape in the 18th century was of a new world, a better world. in 1763, jean-jacques rousseau proposed a new society for the individual in his inquiry into the nature of the social contract. rousseau declared the right of liberty and equality for all men.

such declarations were found not only in books. in the 18th century, two major attempts were made to put these ideas into practice. such ideas, of course, were not popular with conservative and traditional elements, and their resistance had to be overcome in both cases through bloody revolution.

the first great experiment in creating a new and better society was undertaken in what was literally the new world and the new ideals were first expressed in the declaration of independence of the newly founded united states. it is enlightenment thinking that informs such phrases as "we hold these truths to be self-evident" and which underpins the notion "that all men are created equal." its wordly character is clearly reflected in its stated concern for man's happiness and welfare in this lifetime, a new notion that runs counter to the christian focus on the afterlife.

fundamental, too, is the notion of freedom, liberty; it was declared one of man's inalienable rights. in 1789, the french also attempted through bloody revolution to create a new society, with the revolutionaries rallying to the cry of equality, fraternity, and liberty.

the french revolution, however, failed to bring about a radically new society in france. mention may be made here of a third major attempt to create a new society along fundamentally enlightenment lines that took place at the beginning of the 20th century. the russian revolution, perhaps the most idealistic and utopian of all, has also failed.

it is in the ideals of the enlightenment that the roots of modernism, and the new role of art and the artist, are to be found. simply put, the overarching goal of modernism, of modern art, has been the creation of a better society.

what were the means by which this goal was to be reached? if the desire of the 18th century was to produce a better society, how was this to be brought about? how does one go about perfecting humankind and creating a new world?

as we have seen, it was the 18th-century belief that only the enlightened mind can find truth; both enlightenment and truth were discovered through the application of reason to knowledge, a process that also created new knowledge. the individual acquired knowledge and at the same time the means to discover truth in it through proper education and instruction. cleansed of the corruptions of religious and political ideology by open-minded reason, education brings us the truth, or shows us how to reach the truth. education enlightens us and makes us better people. educated enlightened people will form the foundations of the new society, a society which they will create through their own efforts.

until recently, this concept of the role of education has remained fundamental to western modernist thinking. enlightened thinkers, and here might be mentioned for example, thomas jefferson, constantly pursued knowledge, sifting out the truth by subjecting all they learned to reasoned analysis. jefferson, of course, not only consciously cultivated his own enlightenment, but also actively promoted education for others, founding in charlottesville an academical village that later became the university of virginia. he believed that the search for truth should be conducted without prejudice, and, mindful of the enlightenment suspicion of the church, deliberately did not include a chapel in his plans on the campus. the church and its narrow-minded influences, he felt, should be kept separate not only from the state, but also from education.

in this way, the prevailing conservative ethos of society maintained control over the impulses of progressive modernism.

1900-1977 yorgo bacanos 21 eylül 1900'de silivri'de doğdu, 24 şubat 1977'de i̇stanbul'da öldü. rum ve çingene asıllıdır. lavtacı haralambos'un oğludur. birçok üyesi musıkişinas olan bir aile ortamında yetişti. aleko bacanos erkek kardeşi, kemençeci anastas dayısıdır; kemençeci sotiri ve paraşko leondaridis ile de kardeş çocuklarıdır. büyükbabası leondi efendi kemençe, dedesi ligori efendi de kanun çalıyorlardı. yorgo, st.benoit lisesi'ndeki ortaöğrenimini musıki hevesiyle yarıda bıraktı. babasından aldığı ud ve lavta dersleriyle musıkiye başladı. önce babasından, sonra udi kirkor ve karnik garmiyan efendiler'den nota ve usül, büyük sinanyan'dan da batı musıkisi türünde piyano dersleri aldı. on iki yaşında , taksim'deki eftalipos gazinosu'nda uduyla fasıllara katılarak musıki dünyasına girdi. birkaç yıl içinde tanınmış bir udi oldu.

1927'de büyük postane'nin üstünde türk telsiz telefon şirketi'nce açılan ilk radyo yayınlarına katıldı; 1977'ye kadar elli yıl i̇stanbul radyosu'nda ud çaldı; mesut cemil'in yönettiği "klagib koro"ya alındı. 1928'de kardeşi aleko bacanos ile kanuni ahmet yatman'la birlikte hafız kemal ve sadettin kaynak'a eşlik etmek üzere berlin'e gidip plaklar doldurdu. 1929'da sadi işılay'ın karısı deniz kızı eftalya'ya eşlik etmek üzere paris'e gitti. plaklara doldurduğu nihavend, hüseyni, rast ve hüzzam taksimleri o yılların ürünüdür. mısır ve kıbrıs'ta da konserlere katılmış, ünlü muganniye ümmü gülsüm'ün hayranlığını kazanmıştır. bacanos 1946'da i̇stanbul belediye konservatuarı i̇cra heyeti'ne girdi; 1953'ten 1967'ye kadar münir nurettin selçuk yönetimindeki i̇cra heyeti'nin şan sineması konserlerine katıldı.

yorgo bacanos türk musıkisinde yakın tarihin en büyük birkaç udisinden biridir. ud çalışı yalnız türkiye'de değil, makam musıkisi geleneğinin yaşadığı hemen bütün ortadoğu ülkeleri ile yunanistan'da da çok beğenilmiştir.

uddan çıkardığı sesler benzerine pek az rastlanabilecek derecede güzel, parlak, zengin ve etkileyiciydi. sazından elde ettiği sesler hem dolgun ve keskin, hem de bastığı perdenin hakkını tam olarak veren, temiz, kusursuz seslerdi. çok güçlü bir sağ ve sol el tekniği vardı. ne kadar süratli çalarsa çalsın bastığı perdelerin netliği kaybolmazdı. sazını serti keskin ama musıki ahenginden bir şey feda etmeyen mızrap vuruşlarıyla çalardı. udda mızraplıkla büyük eşik arasını kullanır, mızrabını büyük eşiğe daha çok yaklaştırarak sazdan çok yüksek ses elde ederdi. nitekim, kaç sazla birlikte çalarsa çalsın, udunun sesini toplu icrada daima duyurabilmiştir.

bacanos hemen bütün musıki topluluklarında , "klagib koro"larda, fasıllarda, saz eserlerinde, soliste eşlikte her zaman aranan bir icracıydı. nerede çalarsa çalsın ve türk musıkisinin hangi türü olursa olsun, çaldığı topluluğu sürükleyici bir sazende olarak sivrilmişti. klagib beste şekillerinden fasıllara, fasıllardan i̇stanbul ve rumeli türküleri ile oyun havalarına kadar türk musıkisinin bütün şekillerinde icraya ezgi ve ritm zenginliği katmayı bilmiştir.

bacanos'un bu yönü üzerinde ayrıca durulmaya değer musıki değerleri taşır. örneğin, klagib eserlerin okunduğu bir koroda viyolonsel gibi pest sesler veren bir ses yoksa, kaba tellerden çalar, böylece icraya pest seslerle bir derinlik kazandırmaya çalışırdı. fasıllarda çalıyorsa, ara nağmelerini çok değişik çeşitlemelerle zenginleştirir, şarkılar ve mısralar arasındaki boşlukları anında buluşlarla o esere çok yakışan ezgicikler ve ritm hareketleriyle doldurur, böylece "doğaçlama(irticali) aranağmeler"le besteli ara nağmeye rakip olabilecek ezgiler üretirdi. sirto, longa, zeybek gibi oyun havalarında mızrabını lavta mızrabı gibi kullanır, uda ritm vererek ezgiyi aynı ritm çeşitlemeleri içinde sürdürebilirdi. bu özellik, ritm duygusu çok gelişmiş bir sanatçı olan bacanos'a aittir.

hiç şüphesiz, yorgo bacanos türk musıkisinin büyük taksim üstadları arasındadır. taksimlerinde, her şeyden önce ezgileri ve buluşları güzeldir, zevk ürünüdür. bacanos taksim ederken ezgiler ve ezgi içindeki ezgicikler zincirleme bir düzenlilik içinde kesintisizce akıp gider. taksimleri çok canlı ve hareketlidir; bacanos belli bir makamı kendine özgü buluşlarla ve çok değişik mızrap vuruşlarıyla süslemeyi de bilir. bazı taksimleri notaya alınmaya değer güzelliktedir. udi murat torun'un notaya aldığı, bu sayfalarda sunduğumuz rast taksimi bu değerli taksimlerinden biridir.

yorgo bacanos bütün bu nitelikleriyle udda başlıbaşına bir üslup ve tavır örneği vermiştir. onun tavrı daha ilk nota ve ölçülerde hemen ayırt edilebilecek kadar özgün ve kişiliklidir. ondan hiç etkilenmemiş udi yok gibidir.

bestecilikle pek uğraşmamıştır. ancak, bazı şarkıları günümüze kadar fasıllarda, plaklarda ve solo konserlerde sık sık okunmuştur. mahur ("hala kanayan kalbimi aşk ateşi dağlar"), kürdilihicazkar ("neş'eyle geçen ömrümü eyvah keder ettin") ve hüzzam ("sevdası henüz sinede gönlüm gibi sağdı") şarkıları hala sevilen şarkılard