"Çok insan anlayamaz eski musikimizden Ve ondan anlayamayan bir şey anlamaz bizden" (Beyatlı, 2010;22) Edebiyat ve musiki asırlardır birbiriyle yakın münasebet içinde bulunmuş ve bilhassa şiir, müzikalitenin en çok hissedildiği türlerden biri olmuştur. Halk şiiri ve Klasik şiirde tezahürleri görülen bestelenme yahut direkt müzik eşliğinde söylenebilme durumu Yeni Türk Edebiyatı devresinde de kendini, şiirlerin güfte mahiyeti kazanması olarak göstermiştir. Yunus Emre, Ercişli Emrah, Fuzuli, Nef'i, Namık Kemal, Nigar Hanım, Sezai Karakoç gibi geçmişten günümüze pek çok şairin şiirleri bestelenmiş ve Yahya Kemal, şiirleri en çok bestelenen şairlerden biri olma niteliğini taşımıştır. Ayrıca şiirin kendine has ölçü, kafiye, redif, asonans, aliterasyon gibi unsurları, içinde ritmi barındırmakla birlikte musiki ve şiirin "ahenk" noktasında bir birliktelik kurmasını sağlamıştır. Ekseriyetle aruz ölçüsü kullanılan ve "ses" e ehemmiyet verilen Yahya Kemal'in şiiri de musiki ve şiir münasebetinin birer delili olma hususiyeti kazanmıştır. Yahya Kemal, sıradan bir dinleyici olmaktan ziyade Türk musikisi hakkında ziyadesiyle teorik bilgiye de sahiptir. Yahya Kemal'in sahip olduğu bu musiki müktesebatı şiirinde akis bulmuştur ve aynı zamanda Türk musikisi de ondan ziyadesiyle faydalanmıştır. Henüz daha hayatta iken pek çok şiirinin bestelendiğini müşahede etmiş ve vefatının ardından da şiirleri bestelenmeye devam edilmiştir. Daha evvel Yahya Kemal'in şiirinin musiki ile ilişkisine dair muhtelif çalışmalar yapılmıştır fakat bu çalışmada hem Yahya Kemal'in şiiriyle musiki arasında biçim ve muhteva yönünden bir bağ kurulmuş hem de aynı zamanda Türk musikisinde Yahya Kemal'in tesiri gösterilmeye çalışılmıştır. Ayrıca musiki yalnızca teorik olarak şiirle ilişkilendirilmemiş ve kültürün bir parçası olma noktasından da incelenmiştir. Bu makalede Yahya Kemal'in şiirlerindeki mûsîkî unsurları ve Yahya Kemal'in Türk mûsîkîsi açısından taşıdığı ehemmiyet iki bölüm halinde incelenmeye çalışılmıştır. İlk olarak Yahya Kemal'in şiiri, mûsîkî nokta-i nazarından mana ve biçim yönünden incelenmiş, Türk mûsîkîsi bestekârlarının adının geçtiği beyitler üzerine tespitler yapılmış ve ikinci bölümde musiki ve şiir ilişkisi bağlamında bestelenen şiirlerinden örnekler sunulmuştur

The objective of this work is to ascertain Yahya Kemal’s poetry’s connection to music and at the same time to specify the importance of Yahya Kemal’s poetry in terms of Turkish Music. Yahya Kemal made use of classical art in his poetry frequently but music took part in his poem involving its meaning beyond only being an art branch. Besides Turkish Music did not mishit Yahya Kemal’s poetry but provided it to gain lyrics quality. So this research has been made both to indicate the relationship between literature and music and to look into Yahya Kemal’s poems from this perspective. Literature and music have been closely connected to each other for centuries and especially poetry has been one of the types in which musicality is felt. Composing appearing in folk poetry and classical poetry or the situation of being said in company with direct music has showed itself as poetry having gained the quality of lyrics during New Turkish Literature. Poetry of many poets from past to the future such as Yunus Emre, Ercişli Emrah, Fuzuli, Nef’i, Namık Kemal, Nigar Hanım, Sezai Karakoç has been composed and Yahya Kemal had the characteristics of being one of the poets whose poetry has been composed most. Besides poetry’s specific factors such as meter, rhyme, assonance, alliteration provided poetry and music to be associated based on harmony as well as hosting rhythm in itself. Yahya Kemal’s poetry, who mostly used aruz prosody and gave much importance to voice, has gained the importance of being evidence of the connection between poetry and music. Yahya Kemal, rather than being an ordinary listener, has an excessive theoretical knowledge about Turkish Music. Yahya Kemal’s this body of knowledge about music took place in poetry and at the same time Turkish Music highly made use of it. When he was alive he observed that mcuh of his poetry has been composed and after he died his poetry continued to be composed. In this article, the music aspects in the poems of Yahya Kemal and the importance of him in terms of Turkish music are tried to study in two parts. Firstly, Yahya Kemal’s poem is examined in terms of meaning and formation from the point of music and the couplets where the Turkish music composers are cited are observed and in the second part, some examples are presented from his composed poems in the context of music and poetry relation. While conducting this study, all available resources and other studies on Yahya Kemal’s life and works were reviewed and his poems that are the main subject of this study were especially elaborated. The proems were firstly searched and observed on the basis of music and then a list of the composed poems was made by referring to the Turkish music resources. In the general framework, the music and poetry are studied in relation to the Yahya Kemal’s poems and Turkish music in the context of the main subject. Before, many studies were made on relation between the Yahya Kemal’s poems and music but in this study, both a link is established between the Yahya Kemal’s poems and music in termns of formation and conten and also Yahya Kemal in Turkish music is shown. Moreover, the music is not only related to the poetry in theory but also studied as being a part of the culture. Yahya Kemal born in 1884 and died in 1958 was raised by the empire culture, recognized the West by going to France and observed the establishment and recovery phases of a new state after a while of his return. He also observed the literature, which never lost its movement and actuality together with these phases, and the stages tha the literature went through. He had been affected from Servet-i Fünun (Wealth of Knowledge) poem that he met before he going to Paris but he had never been bounded to any flow, ecole, community or movement –except for a short “adventure” of a flow called “Nev-Yunanilik”- and he did not participate in the such discussions as syllabic-prosody, national-not national but only expressed his opinions on certain issues after returning from Paris and he never wrote poetry only for ideas as well as creating poems of his ideas without thinking that the poem should have a functional nature and he melted the new, the old, the present time and the future in his poems always by supporting the integrity and composition and created his own language of poetry. Yahya Kemal wrote all of his poems by using aruz prosody except for the poems called “Ok” written by using syllabic meter and “GeceBestesi”, “KarnavalveDönüş”, “Ufuklar”, “İstanbul Ufuktaydı”, “Fenerbahçe” that he wrote by using free meter. Aruz prosody brought rhythm to his poetry and the rhythm brought the music. He used couplet basis in his poems other than such verse types as rubaie, ballad and square but it became an element creating integrity rather than separating the poem and bringing certain parts to the forefront. Moreover, Yahya Kemal gave a lot of importance to the use of rhyme and the repeated voice. He used figure of speech and applied this to all of the poem rather than focusing on only a word. The language he used is also very important in terms of being the living Turkish language of that period. Because he presented a language by synthesising the “new” language with the formation properties called “old” and thus, managed to integrate the music to the poem by bringing fluency and melody to the language. Yahya Kemal’s poems have overtones of Turkish music in terms of formation and meaning and is a course where the music terms and the names of the composers are used and where the nation, history, all life are looked from betwen the “curtain” of them. Besides such elements as repetition of such voices, words and verses as aruz, rhyme, repeated voice, figure of speech, alliteration, assonance and using words that are in harmony with each other; he looks at the nature, İstanbul, love, death and the homeland by hearing the music that combines under one roof the past, present and the future that contain the adventure of the whole nation. Servet-i Fünun poetry that he observed in his youth and was affected for a period of time, the attention he gained in his years in Paris, the idea of composition the created after returning to the homeland and the poems he wrote on the basis of all of these elements present an “integrity” and, the aspects that his dominance over the music, the fact that he did not participate in the literature formations in his period but created a new poetry language by using the old material ensured that he wrote poems that affect and impress the rising generation for years by harmonising the tradition and modernity. Yahya Kemal elaborating his poems tried to achieve the perfection by meticulously thinking on the words for years and reated a “language music” by giving importance to the “spiritual melody”. Yahya Kemal thought that the works of such composers as Dede Efendi, Itri, Hafız, Tanburi Cemil and Seyyid Mehmed Nuh, whose names he cited in his peoms and to whom he even dedicated some of his poems, had a nature of uniting the nationals and found the whole culture in pleasant music. Beside the fact that Yahya Kemal’s having a grasp of Turkish music reflected on his poems, Turkish music also benefited substantially from his poems and many of his poems were composed and gained for the Turkish music. Yahya Kemal observed some of them while he was alive and his works are continued to compose after his death.