{"id":778,"date":"2025-11-28T16:16:18","date_gmt":"2025-11-28T13:16:18","guid":{"rendered":"https:\/\/mehmetkirtorun.com\/?p=778"},"modified":"2025-12-03T13:37:49","modified_gmt":"2025-12-03T10:37:49","slug":"goge-yuruyen-dogulu-ruh-nusrat-fateh-ali-khan","status":"publish","type":"post","link":"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/goge-yuruyen-dogulu-ruh-nusrat-fateh-ali-khan\/","title":{"rendered":"G\u00f6\u011fe Y\u00fcr\u00fcyen Do\u011fulu Ruh: Nusrat Fateh Ali Khan"},"content":{"rendered":"\n

Karabatak Dergisi<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Gecenin ilerleyen saatlerinde, odamda tek ba\u015f\u0131ma oturur, sessizli\u011fin duvarlara \u00e7arpan izlerini seyrederken, belirir g\u00f6z\u00fcmde o sil\u00fcet. Uzak bir diyarda\u2026 Belki Lahor\u2019un eski ta\u015f sokaklar\u0131n\u0131n ard\u0131nda, t\u00fcts\u00fc kokular\u0131n\u0131n havada as\u0131l\u0131 kald\u0131\u011f\u0131 bir tekkede yahut Londra\u2019n\u0131n nemli, puslu ak\u015famlar\u0131nda, tarihi bir konser salonunun lo\u015f \u0131\u015f\u0131klar\u0131 alt\u0131nda\u2026 Orada, sahnenin tam ortas\u0131nda, g\u00f6zlerini kapam\u0131\u015f bir adam \u00e7\u0131kar kar\u015f\u0131ma. Sanki d\u00fcnyayla olan t\u00fcm ba\u011flar\u0131n\u0131 kesmi\u015f, i\u00e7 \u00e2lemine do\u011fru d\u00f6rt nala bir sefer ba\u015flatm\u0131\u015ft\u0131r. Fakat bu sefer sadece i\u00e7e de\u011fil, g\u00f6\u011fe do\u011frudur da\u2026 G\u00f6zlerini kapatm\u0131\u015f, i\u00e7 \u00e2leminde patlayan bir y\u0131ld\u0131z gibi, sesin her k\u0131v\u0131lc\u0131m\u0131yla yukar\u0131 savrulur. Sanki g\u00f6\u011fe do\u011fru ko\u015fan bir ruh, sarsak ad\u0131mlarla de\u011fil, kudretli bir \u00e7a\u011fr\u0131yla y\u00fcr\u00fcr. \u0130\u015fte o adam: Nusrat Fateh Ali Khan.<\/p>\n\n\n\n

Bu ses, Bat\u0131’n\u0131n her \u015feyi kapsayan k\u00fclt\u00fcrel hegemonyas\u0131na kar\u015f\u0131, Do\u011fulu ruhumda bir diren\u00e7 in\u015fa eder. Onu her dinledi\u011fimde, do\u011fdu\u011fum topra\u011f\u0131n haf\u0131zas\u0131yla, ge\u00e7mi\u015fin kadim bilgeli\u011fiyle, kendi k\u00f6klerimle yeniden ba\u011f kurar\u0131m. Bu hegemonyan\u0131n g\u00f6\u011fs\u00fcme estirdi\u011fi r\u00fczgarlara kar\u015f\u0131 “Ali!” diye hayk\u0131rman\u0131n verdi\u011fi vakar, i\u015fte tam da bu sesteki kudretle m\u00fcmk\u00fcn olur.<\/p>\n\n\n\n

K\u00f6kler: Kavvali Gelene\u011finin Alt\u0131 As\u0131rl\u0131k Ta\u015f\u0131y\u0131c\u0131s\u0131<\/strong><\/p>\n\n\n\n

Nusrat Fateh Ali Khan, 1948 y\u0131l\u0131nda Pakistan\u2019\u0131n Faysalabad \u015fehrinde, m\u00fczikal miras\u0131n neredeyse genetik bir kod gibi aktar\u0131ld\u0131\u011f\u0131 bir ailede do\u011fdu. Ailesi, tam alt\u0131 ku\u015fakt\u0131r kavvali icra eden bir silsilenin son halkas\u0131yd\u0131. Babas\u0131, usta kavval Ustad Fateh Ali Khan\u2019d\u0131 ve o\u011flunun bu yola girmesini istememi\u015fti. \u00c7\u00fcnk\u00fc kavvali, toplumda pek sayg\u0131 g\u00f6ren bir sanat olmam\u0131\u015ft\u0131. Babas\u0131n\u0131n vefat\u0131yla birlikte i\u00e7indeki tutkunun pe\u015finden gitti, hen\u00fcz on be\u015f ya\u015f\u0131ndayken ilk sahnesini ald\u0131 ve daha sonra da hi\u00e7 durmad\u0131.<\/p>\n\n\n\n

Kavvali: Anlat\u0131n\u0131n Ritmi, A\u015fk\u0131n Dili<\/strong><\/p>\n\n\n\n

Kavvali kelimesi, k\u00f6ken olarak \u201canlat\u0131\u201dya dayan\u0131r. Sufi gelene\u011fin m\u00fczikle b\u00fct\u00fcnle\u015fti\u011fi bu form, yaln\u0131zca ezgi de\u011fildir; ayn\u0131 zamanda ilahi a\u015fk\u0131, ilahi ger\u00e7e\u011fi anlatman\u0131n da bir yoludur. Genellikle Urduca, Pencap\u00e7a, Fars\u00e7a ve Hint\u00e7e dillerinde s\u00f6ylenen bu eserler, Mevl\u00e2n\u00e2\u2019dan Bulleh Shah\u2019a kadar pek \u00e7ok mistik \u015fairin dizelerini ta\u015f\u0131r. Ancak Nusrat\u2019\u0131n fark\u0131 kelimelerin \u00f6tesine ge\u00e7mesindeydi. O sadece s\u00f6z s\u00f6ylemez, s\u00f6ze ruh da \u00fcflerdi.<\/p>\n\n\n\n

Sahnede yere ba\u011fda\u015f kurarak oturur, etraf\u0131nda m\u00fczisyenler \u2013\u00f6zellikle karde\u015fi Farrukh Fateh Ali Khan\u2013 yerlerini al\u0131rd\u0131. Ba\u015flarken neredeyse m\u0131r\u0131ldan\u0131r gibi s\u00f6ylerdi. Ama sonra, ritim y\u00fckseldik\u00e7e, tempo h\u0131zland\u0131k\u00e7a, sesi b\u00fcy\u00fcr; \u00f6nce seni uyar\u0131r, sonra \u00e7a\u011f\u0131r\u0131r, en sonunda sarsard\u0131.<\/p>\n\n\n\n

Vecd H\u00e2li: Dinleyeni \u0130badete Davet Eden M\u00fczik<\/strong><\/p>\n\n\n\n

Sahnede heybetli c\u00fcssesiyle ba\u011fda\u015f kurup oturan Nusrat\u2019\u0131n \u00e7evresinde, elinde harmoniumu ile karde\u015fi Farrukh Fateh Ali Khan ve di\u011fer sazendeler yerlerini al\u0131rd\u0131. Klasik bir kavvali toplulu\u011funun enstr\u00fcmanlar\u0131 \u2014 tabla, harmonium ve el \u00e7\u0131rpmalar \u2014 e\u015fli\u011finde, \u00f6nce a\u011f\u0131r a\u011f\u0131r ba\u015flard\u0131 ilahiler. Nusrat, g\u00f6zleri kapal\u0131, ba\u015f\u0131n\u0131 g\u00f6ky\u00fcz\u00fcne do\u011fru hafif\u00e7e kald\u0131rarak o billur sesini usulca sal\u0131verirdi. S\u00f6zler birer \u015fiir, her biri birer dua: Bazen 17. y\u00fczy\u0131l mutasavv\u0131f \u015fairi Bulleh Shah\u2019\u0131n dilinden d\u00f6k\u00fclen dizeler, bazen Mevl\u00e2n\u00e2 Celaleddin Rumi\u2019nin pergel misali a\u015fka \u00e7a\u011f\u0131ran beyitleri… M\u00fczik y\u00fckseldik\u00e7e, tempo ivme kazand\u0131k\u00e7a sanki ba\u015fka bir boyuta ge\u00e7ilirdi. Tekrar edilen nakaratlar, art arda y\u00fckselen melodik c\u00fcmleler\u2026 \u00d6yle anlar gelirdi ki, Nusrat\u2019\u0131n sesi bir volkan gibi patlayarak zirveye ula\u015ft\u0131\u011f\u0131nda, salondaki herkesin kalbi ayn\u0131 anda atmaya, ayn\u0131 co\u015fkuyla \u00e7arpmaya ba\u015flard\u0131.<\/p>\n\n\n\n

Bir r\u00f6portaj\u0131nda Jeff Buckley ad\u0131nda gen\u00e7 bir Amerikal\u0131 m\u00fczisyen, \u201cOnun sesini ilk kez Harlem\u2019de 1990 sonbahar\u0131nda duydum. O g\u00fcnden sonra i\u00e7imde bir \u015fey de\u011fi\u015fti\u201d diye anlatacakt\u0131. Buckley, dilini bilmedi\u011fi bu ezgilere tutulmu\u015f, her g\u00fcn Nusrat\u2019\u0131 dinler hale gelmi\u015fti. Hatta bir keresinde \u00e7evresindekilere Nusrat Fateh Ali Khan i\u00e7in \u201cO benim Elvis\u2019im\u201d diyerek hayranl\u0131\u011f\u0131n\u0131 dile getirmi\u015fti. Buckley\u2019nin idol\u00fc Elvis Presley idi; ama kalbinin derinliklerine dokunan as\u0131l ses, Pakistan\u2019dan \u00e7\u0131kan bu iri yar\u0131 adam\u0131n sesiydi. Gen\u00e7 m\u00fczisyen, ilerleyen y\u0131llarda konserlerinde Nusrat\u2019\u0131n \u201cYeh Jo Halka Halka Suroor Hai\u201d adl\u0131 kavvalisinden b\u00f6l\u00fcmler s\u00f6ylemeye c\u00fcret edecek, taklit edemese de a\u015fk dolu bir sayg\u0131 duru\u015funda bulunacakt\u0131. Onun bu denemesi belki kusurluydu, fakat Buckley\u2019nin ifadesiyle \u201cruhu t\u00fcm k\u0131r\u0131lganl\u0131\u011f\u0131yla parl\u0131yordu\u201d i\u00e7inde. Nitekim Nusrat\u2019\u0131n m\u00fczi\u011fine dair en \u00f6zl\u00fc tariflerden birini de yine Buckley yapm\u0131\u015ft\u0131r: Qawwali gelene\u011finin, \u201cbo\u015fluk ile ruhun d\u00fcnyas\u0131 aras\u0131nda arac\u0131l\u0131k eden, A\u015fk\u2019tan mesajlar ta\u015f\u0131yan, kelimelerin \u00f6tesinde \u0131\u015f\u0131k patlamalar\u0131yla dinleyicinin kalbine seslenen\u201d bir sanat oldu\u011funu s\u00f6yler. \u201cNusrat ve ekibinin,\u201d der Buckley, \u201cdinleyiciyi i\u00e7sel bir marifet haline ula\u015ft\u0131rmak gibi bir hedefi var. Onlar m\u00fczik \u00e7alm\u0131yor; kendileri m\u00fczi\u011fin ta kendisi oluyorlar\u201d diye ekler. Ger\u00e7ekten de vecd h\u00e2lini hem kendisi ya\u015far hem dinleyene ya\u015fat\u0131rd\u0131 Nusrat. Sahnedeyken \u00f6ylesine kendinden ge\u00e7erdi ki, Buckley onu seyrederken \u201cart\u0131k d\u00fcnya onun i\u00e7in mevcut de\u011fil san\u0131rd\u0131m\u201d diye yazm\u0131\u015ft\u0131. Mistik co\u015fkunun bu doruk noktas\u0131nda, dinleyiciler de adeta birer t\u00fcy gibi hafifler, kimisi a\u011flamakl\u0131, kimisi kendinden ge\u00e7mi\u015f halde kendilerini ilahinin kollar\u0131na b\u0131rak\u0131rlard\u0131.<\/p>\n\n\n\n

Bat\u0131\u2019ya A\u00e7\u0131lan Kap\u0131: WOMAD ve Peter Gabriel<\/strong><\/p>\n\n\n\n

B\u00fcy\u00fck kalabal\u0131klar\u0131n onu tan\u0131mas\u0131 ise 1980\u2019lerin ortas\u0131n\u0131 buldu. 1985 yaz\u0131nda \u0130ngiltere\u2019de d\u00fczenlenen D\u00fcnya M\u00fczik, Sanat ve Dans Festivali (WOMAD), Nusrat Fateh Ali Khan\u2019\u0131 Bat\u0131l\u0131 dinleyiciyle ilk kez bulu\u015fturdu. Peter Gabriel\u2019in \u00f6nc\u00fcl\u00fc\u011f\u00fcndeki bu festivalde, o g\u00fcne dek \u201cgizemli bir Do\u011fu gelene\u011fi\u201d olarak g\u00f6r\u00fclen kavvali m\u00fczi\u011fi, bamba\u015fka k\u00fclt\u00fcrlerden insanlar\u0131n kalbine ok gibi sapland\u0131. Londra\u2019da ve Paris\u2019te verdi\u011fi konserler b\u00fcy\u00fck yank\u0131 uyand\u0131rd\u0131; Japonya\u2019dan Amerika\u2019ya pek \u00e7ok \u00fclkede festivallere davet edildi. Sesindeki ruhaniyet, dilini anlamayanlara bile ge\u00e7iyor, konser salonlar\u0131 co\u015fkulu bir cemaate d\u00f6n\u00fc\u015f\u00fcyordu. The New York Times<\/em> onu neslinin en b\u00fcy\u00fck kavvali sanat\u00e7\u0131s\u0131 ilan ediyor, NPR radyosu \u201c50 b\u00fcy\u00fck ses\u201d listesine ad\u0131n\u0131 yaz\u0131yordu. D\u00fcnya m\u00fczi\u011fi kavram\u0131n\u0131n pop\u00fclerle\u015fmeye ba\u015flad\u0131\u011f\u0131 bu d\u00f6nemde Nusrat, sadece yerel bir sanat\u00e7\u0131 olmaktan \u00e7\u0131k\u0131p k\u00fcresel bir m\u00fczik fenomenine d\u00f6n\u00fc\u015f\u00fcyordu. Dev c\u00fcssesi ve beyaz giysileriyle sahnede ter i\u00e7inde kalana kadar vecd ile \u015fark\u0131 s\u00f6yleyen bu adam, d\u00fcnya m\u00fczik piyasas\u0131nda al\u0131\u015f\u0131lmad\u0131k bir fig\u00fcrd\u00fc belki; ama y\u00fcreklere dokunmak i\u00e7in terc\u00fcmeye ihtiya\u00e7 duymayan bir sesti. Onun hayranlar\u0131 aras\u0131nda yaln\u0131z m\u00fczik tutkunlar\u0131 de\u011fil, Mick Jagger\u2019dan Sean Penn\u2019e, Susan Sarandon\u2019dan Peter Gabriel\u2019e pek \u00e7ok \u00fcnl\u00fc isim de vard\u0131; hepsi bu sesi tek kelime anlamadan b\u00fcy\u00fclenerek dinliyordu.<\/p>\n\n\n\n

\u00dcnl\u00fc rock sanat\u00e7\u0131s\u0131 ve yap\u0131mc\u0131 Peter Gabriel, 1988\u2019de Martin Scorsese\u2019nin \u201cThe Last Temptation of Christ\u201d (G\u00fcnaha Son \u00c7a\u011fr\u0131<\/em>) filmi i\u00e7in haz\u0131rlad\u0131\u011f\u0131 Passion<\/em> alb\u00fcm\u00fcnde Nusrat\u2019\u0131n sesine yer verdi. Bu i\u015f birli\u011fi, Gabriel\u2019in kurdu\u011fu Real World plak \u015firketiyle Nusrat aras\u0131nda y\u0131llarca s\u00fcrecek verimli bir ortakl\u0131\u011f\u0131n ba\u015flang\u0131c\u0131 oldu. 1989\u2019da Real World etiketiyle yay\u0131mlanan \u201cShahen-Shah\u201d alb\u00fcm\u00fc, Nusrat\u2019\u0131n Pakistan\u2019daki lakab\u0131n\u0131 ta\u015f\u0131yordu: Kavvali\u2019nin \u015eehin\u015fah\u2019\u0131, yani \u201cKavvalilerin Padi\u015fahlar Padi\u015fah\u0131\u201d. Bat\u0131 dinleyicisine y\u00f6nelik bu ilk alb\u00fcmle birlikte Nusrat Fateh Ali Khan ad\u0131 bir efsane gibi dilden dile yay\u0131lmaya ba\u015flad\u0131. Devam\u0131nda gelen Mustt Mustt<\/em> (1990) alb\u00fcm\u00fc, Kanadal\u0131 m\u00fczisyen Michael Brook ile birlikte Nusrat\u2019\u0131 geleneksel formlar\u0131n d\u0131\u015f\u0131na \u00e7\u0131kararak modern seslerle bulu\u015fturdu. Bu alb\u00fcmdeki par\u00e7alar, Senegal davulu, Brezilya surdo\u2019su, Hindistan tablas\u0131 ve modern bas riffleri ile klavye ezgileri gibi farkl\u0131 enstr\u00fcmanlar\u0131 harmanl\u0131yor; Nusrat\u2019\u0131n tekrarlayan tasavvuf\u00ee ilahilerine farkl\u0131 bir t\u0131n\u0131 kazand\u0131r\u0131yordu. Hatta alb\u00fcm\u00fcn ba\u015fl\u0131k par\u00e7as\u0131 \u201cMustt Mustt\u201din Massive Attack taraf\u0131ndan yap\u0131lan bir remiksi, beklenmedik bi\u00e7imde Britanya\u2019da dans kul\u00fcplerinde hit oldu.<\/p>\n\n\n\n

Bat\u0131\u2019da ard\u0131 ard\u0131na \u00e7\u0131kan alb\u00fcmler, konser kay\u0131tlar\u0131 ve turneler sayesinde Nusrat\u2019\u0131n \u00fcn\u00fc giderek b\u00fcy\u00fcrken (onun 40\u2019tan fazla \u00fclkede sahne ald\u0131\u011f\u0131 bilinir), o yine de \u00f6z\u00fcndeki manevi misyonu hi\u00e7 kaybetmedi. 1993\u2019te Los Angeles\u2019ta Hollywood y\u0131ld\u0131zlar\u0131n\u0131n \u00f6n\u00fcnde sahne ald\u0131\u011f\u0131nda, Gabriel onun performans\u0131n\u0131n herkesi b\u00fcy\u00fcledi\u011fini ve hayat\u0131 boyunca unutamayaca\u011f\u0131 bir deneyim ya\u015fatt\u0131\u011f\u0131n\u0131 s\u00f6yler.<\/p>\n\n\n\n

Nusrat Fateh Ali Khan, farkl\u0131 k\u00fclt\u00fcrlerden m\u00fczisyenlerle \u00e7al\u0131\u015fmaktan \u00e7ekinmeyen \u201ckorkusuz\u201d bir ruha sahipti. Hint film m\u00fcziklerinden, Amerikan rock y\u0131ld\u0131zlar\u0131yla d\u00fcetlere kadar geni\u015f bir yelpazede varl\u0131k g\u00f6sterdi. Pearl Jam grubunun solisti Eddie Vedder ile birlikte Dead Man Walking<\/em> (\u0130dam Mahk\u00fbmu<\/em>) filminin m\u00fcziklerine katk\u0131da bulundu; \u201cThe Face of Love\u201d adl\u0131 par\u00e7ada Vedder ile Nusrat\u2019\u0131n sesi bulu\u015ftu. Grammy \u00f6d\u00fcll\u00fc Hint besteci A. R. Rahman ve \u00fcnl\u00fc s\u00f6z yazar\u0131 Javed Akhtar ile projelerde yer ald\u0131. Bollywood i\u00e7in besteledi\u011fi \u015fark\u0131lar milyonlarca insana ula\u015ft\u0131; G\u00fcney Asya pop m\u00fczi\u011fi onun ilham\u0131yla yeni renkler kazand\u0131. \u00d6d\u00fcller birbiri ard\u0131na gelirken, o hep tevazu ile \u201cben sadece m\u00fczi\u011fimi yap\u0131yorum\u201d der gibiydi. Bir keresinde verdi\u011fi r\u00f6portajda, \u201cBen sufi de\u011filim\u201d derken bile, asl\u0131nda kibrin en tehlikelisinden ka\u00e7\u0131nd\u0131\u011f\u0131n\u0131 sezdiriyordu: Kendini bir makama ermi\u015f sayma b\u00f6b\u00fcrlenmesinden uzakt\u0131; o sadece kalbiyle inand\u0131\u011f\u0131n\u0131, suretle de\u011fil \u00f6zle Sufi oldu\u011funu ifade ediyordu.<\/p>\n\n\n\n

Zamans\u0131z Gidi\u015f, Kal\u0131c\u0131 Miras<\/strong><\/p>\n\n\n\n

1997 y\u0131l\u0131nda, hen\u00fcz 48 ya\u015f\u0131ndayken, b\u00f6brek ve karaci\u011fer yetmezli\u011fi nedeniyle hayata veda etti. Ard\u0131nda onlarca alb\u00fcm, y\u00fczlerce konser kayd\u0131 ama en \u00e7ok da susmayan bir ses b\u0131rakt\u0131. Onu dinleyenlerin h\u00e2l\u00e2 unutmamas\u0131n\u0131n sebebi, teknik ustal\u0131\u011f\u0131ndan \u00e7ok daha derindi. O, insan\u0131n Tanr\u0131\u2019ya, \u00e2\u015f\u0131\u011f\u0131n ma\u015fuka, annenin evlada s\u00f6yledi\u011fi her s\u00f6zde yank\u0131lanan ortak duyguyu bulup \u00e7\u0131karan bir sesti.<\/p>\n\n\n\n

Bug\u00fcn: Onun Ard\u0131ndan B\u00fcy\u00fcyen Miras<\/strong><\/p>\n\n\n\n

Onun ye\u011feni Rahat Fateh Ali Khan, bu miras\u0131 s\u00fcrd\u00fcr\u00fcyor. \u201cAfreen Afreen\u201d gibi ilahiler, yeniden yorumlan\u0131yor. Ama hi\u00e7bir \u015fey, orijinal sesin b\u0131rakt\u0131\u011f\u0131 izi tam anlam\u0131yla dolduram\u0131yor.<\/p>\n\n\n\n

Bug\u00fcn bile YouTube\u2019da rastgele bir Nusrat kayd\u0131n\u0131 a\u00e7t\u0131\u011f\u0131n\u0131zda, d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndan insanlar\u0131n benzer tepkiler verdi\u011fini g\u00f6r\u00fcrs\u00fcn\u00fcz. G\u00f6zleri ya\u015faranlar, susup sadece dinleyenler, dilini anlamadan onu hissedenler… T\u00fcm bunlar g\u00f6steriyor ki, onun sesi zamandan ba\u011f\u0131ms\u0131zd\u0131r. Hi\u00e7bir dile, \u00fclkeye, inanca ya da forma s\u0131\u011fmaz. \u00c7\u00fcnk\u00fc o ses, insana ait olan en derin \u015feyin \u2013 a\u015fk\u0131n \u2013 sesidir.<\/p>\n\n\n\n

Bir Sesin \u0130\u00e7imizde A\u00e7t\u0131\u011f\u0131 Bahar<\/strong><\/p>\n\n\n\n

Nusrat Fateh Ali Khan\u2019\u0131 dinlemek yaln\u0131zca bir konser seyretmekten \u00f6te bir \u015feydir; bir tecr\u00fcbedir. Dinleyen, bir s\u00fcre sonra sadece kulak vermekle kalmaz; g\u00f6nl\u00fcyle de o ezgiye kar\u0131\u015f\u0131r. \u0130\u015fte bu y\u00fczden Nusrat sahnede hi\u00e7bir zaman tek ba\u015f\u0131na de\u011fildir. Onun musik\u00eesi, dinleyeni bir \u015fahit de\u011fil, bir yolda\u015f h\u00e2line getirir.<\/p>\n\n\n\n

Edebiyatla musik\u00eenin bulu\u015ftu\u011fu o ince \u00e7izgide, onun sesi daima bir ilham kayna\u011f\u0131 olarak dola\u015facakt\u0131r \u2013kimi zaman g\u00f6kte yank\u0131lanan bir ezan, kimi zaman da bir g\u00fcl bah\u00e7esinde esen r\u00fczg\u00e2r gibi\u2026 Severek dinleyenler de anlar ki, bazen bir tek ses, hayat\u0131n ak\u0131\u015f\u0131n\u0131 de\u011fi\u015ftirmeye k\u00e2fidir\u2026<\/p>\n\n\n\n

Kaynak\u00e7a<\/strong><\/p>\n\n\n\n

BBC. (2017, October 13). Nusrat Fateh Ali Khan: The voice that transcended borders<\/em>. BBC Culture. https:\/\/www.bbc.com\/culture\/article\/20171013-nusrat-fateh-ali-khan-the-voice-that-transcended-borders<\/a><\/p>\n\n\n\n

Boosey & Hawkes. (n.d.). Nusrat Fateh Ali Khan biography<\/em>. Retrieved September 6, 2025, from https:\/\/www.boosey.com<\/p>\n\n\n\n

Gioia, T. (1997, August 22). Obituary: Nusrat Fateh Ali Khan. The Independent<\/em>. https:\/\/www.independent.co.uk\/news\/obituaries\/nusrat-fateh-ali-khan-1246332.html<\/p>\n\n\n\n

Jeff Buckley site. (2019, March 8). Jeff Buckley on Nusrat Fateh Ali Khan<\/em>. Retrieved from https:\/\/jeffbuckley.com<\/p>\n\n\n\n

NPR. (2008, May 14). 50 Great Voices: Nusrat Fateh Ali Khan<\/em>. NPR Music. https:\/\/www.npr.org\/templates\/story\/story.php?storyId=90595887<\/p>\n\n\n\n

Pareles, J. (1997, August 17). Nusrat Fateh Ali Khan, Pakistani vocalist, 48. The New York Times<\/em>. https:\/\/www.nytimes.com\/1997\/08\/17\/arts\/nusrat-fateh-ali-khan-pakistani-vocalist-48.html<\/a><\/p>\n\n\n\n

Real World Records. (n.d.). Nusrat Fateh Ali Khan \u2013 Artist Profile<\/em>. Retrieved September 6, 2025, from https:\/\/realworldrecords.com<\/p>\n\n\n\n

Rolling Stone. (2023, November 30). The 200 greatest singers of all time: Nusrat Fateh Ali Khan<\/em>. Rolling Stone. https:\/\/www.rollingstone.com<\/p>\n\n\n\n

Shah, A. (2022). Qawwali and the Art of Devotional Singing: Nusrat Fateh Ali Khan\u2019s Legacy<\/em>. Journal of Sufi Studies, 11(2), 155\u2013174. https:\/\/doi.org\/10.1163\/22105956-bja10025<\/p>\n\n\n\n

The Guardian. (2017, October 13). Nusrat Fateh Ali Khan: Still the King of Qawwali<\/em>. The Guardian. https:\/\/www.theguardian.com\/music<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Karabatak Dergisi Gecenin ilerleyen saatlerinde, odamda tek ba\u015f\u0131ma oturur, sessizli\u011fin duvarlara \u00e7arpan izlerini seyrederken, belirir g\u00f6z\u00fcmde o sil\u00fcet. Uzak bir diyarda\u2026 Belki Lahor\u2019un eski ta\u015f sokaklar\u0131n\u0131n ard\u0131nda, t\u00fcts\u00fc kokular\u0131n\u0131n havada as\u0131l\u0131 kald\u0131\u011f\u0131 bir tekkede yahut Londra\u2019n\u0131n nemli, puslu ak\u015famlar\u0131nda, tarihi bir konser salonunun lo\u015f \u0131\u015f\u0131klar\u0131 alt\u0131nda\u2026 Orada, sahnenin tam ortas\u0131nda, g\u00f6zlerini kapam\u0131\u015f bir adam \u00e7\u0131kar […]<\/p>\n","protected":false},"author":1,"featured_media":927,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-778","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-dunyanin-kiyisinda"},"yoast_head":"\nG\u00f6\u011fe Y\u00fcr\u00fcyen Do\u011fulu Ruh: Nusrat Fateh Ali Khan - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/goge-yuruyen-dogulu-ruh-nusrat-fateh-ali-khan\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"G\u00f6\u011fe Y\u00fcr\u00fcyen Do\u011fulu Ruh: Nusrat Fateh Ali Khan - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun\" \/>\n<meta property=\"og:description\" content=\"Karabatak Dergisi Gecenin ilerleyen saatlerinde, odamda tek ba\u015f\u0131ma oturur, sessizli\u011fin duvarlara \u00e7arpan izlerini seyrederken, belirir g\u00f6z\u00fcmde o sil\u00fcet. 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