Tokat çevresindeki ezgilere yapılan açışların incelenmesi

Abstract

ÖZET Türk Halk Müziği'nde açış geleneği yüzyıllardır süregelmiştir. Ve saz icrasında önemini daima korumuş ve hissettirmiştir. Çünkü iyi açış yapan kimseler kendisini sazlarının usta icracıları olarak kanıtlamışlardır. Üstad'lığın yolu, iyi emprovizeler yapmaktan geçer. Ruhun derinliklerindeki güzel ya da acı duygulan notalara dökebilmek için gerçekten de ustalık gerekmektedir. Bu ustalığı kazanabilmek için ise bir takım unsurların öğrenilmesi ve uzun yıllar boyunca pişirilmesi gerekmektedir. Bunlara katkıda bulunabilmek amacıyla, Tokat-Reşadiye ezgilerine yapılan açışların incelenmesi konusunda yapılan bu çalışmada konular şöyle sıralanmaktadır: Giriş bölümünde konunun ele alınmasındaki nedenler ve faydalan, araştırmanın kapsamı, kullanılan metod ve araçlar konularına değinilmiştir. İkinci bölümde, incelediğimiz yörenin coğrafî ve tarihî konumuna da değinilmiş, yöre halk müziği ve oyunları genel olarak irdelenmiştir. Saha sonra konunun özü olan `açış` kavramının çeşitli yönlerden ve bazı müzik adamlarının görüşleri ışığında irdelenmesinin ardından, Tokat-Reşadiye yöresine ait 3 adet açışın analizleri de yapılmıştır. Tüm bu bilgilerin oluşturduğu panoramaya bakarak, model olabilecek bir açış yapılarak sonuçlar bir noktaya ulaştırılmıştır. Bu modelle, yapılan bu çalışmadan nasıl bir fayda sağlanabileceği konusunda bir fikir verilmek istenmiştir. Açış yapma konusunun, sadece pratikle değil, nazari bilgilerle de desteklenmesi gerektiğini vurgulayarak, Tokat-Reşadiye ezgilerine yapılan açışların incelenmeye çalışıldığı bu Yüksek Lisans Bitirme Tezi'nin tüm öğrenci ve araştırmacılara faydalı olmasını diliyoruz. n

SUMMARY To perform a `Taksim`, an instrumental opening to a musical piece is as enjoyable and satisfactory to the performer as it is difficult. It certainly consists of an improvisation. Though all these improvisations carry similar characteristics as they are subject to certain rules, they all represent a new composition. In this field some characteristics of the performer are showing themselves. This is the best the performer can express his experience, his musical personality, his composing talent and virtuosity. Obviously the performer needs a high wisdom to able to express these characteristics. Meaningfully, the performers with a good musical education, a certain understanding of the local music and a great technical capacity with their instrument can perform a proper opening. The performer needs to perform serious practice and studies for long years in order to achieve these qualities which are in act necessary for all artists. Apart from this, what we call `the gift` is the most important element in the nature of an artist. The talent is the first think that should be looked for in the artist's spirit. Other qualities are in a certain degree artificial and they can be learned with time. This is the reason we are concentrating on the subject of opening. Given that there some studies in this subject, no researches were made for the Tokat - inReşadiye region. This is why we shall concentrate in this area. Before specifying the characteristics of the openings with Tokat - Reşadiye origin let us concentrate on the opening concept: The art of improvisation named `opening` in the Turkish Folk Music, is called `Taksim` for the Turkish Classical Music, `guiding` and `strolling` are the other term used in Turkish Folk Music. The openings belong to the category of `long tunes` among the Turkish Folk Music forms, they can be considered as `instrumental long tunes`. As it is widely known, the openings are non-formal, i.e. free - formed, tunes performed in any tessitura or musical pattern without any ordered measure. Other than some basic factors, they have no pre-formed body. They are totally improvised melodies. The basic factors that should be known in order to be able to perform an opening are in general: 1) Knowing the tune for which the opening is being made. 2) Also knowing the this tune's geographic origin. 3) The local style and characteristic to be known and reflected to the tune. IV4) Line of the tune, or could it be expressed by the lines of its musical pattern to be defined. Accordingly: a) The decisive pitch b) The pitch of strength c) Hanging pitches, if available. d) The rigging e) If available, flat and sharp signs to be used temporarily. f) If available, modulations to be made within the general pattern. Here let us see the opinion of experts from different fields of music on the subject: Here are the ideas of Asst. Professor Yalçın TURA: ` `Taksim` is the name given to the arbitrarily short or long instrumental tunes performed improvisational in a free-form style but staying loyal with a general musical pattern. Literally the word has the meaning of dividing to the parts, and it is not known why it became the term for this style of music. A `Taksim` could be located in the beginning, in the middle or the at the and of a melody and named by their location or character as the starting Taksim, opening Taksim, mid Taksim or passage Taksim.musical patterns is especially interesting. Though there is no definite structure for these tunes, the performers normally try to divide their Taksim into a beginning phase, a growth phase and a decisive one. Although these are improvisational tunes some of the famous performers have tried to put these into notes. Also, the extemporaneous vocal performed by the singer during the performance of a song and based on a lyric poem named « gazel » can be accepted as a sort of a vocal `Taksim`.` And here is the explanation brought to the subject by Asst. Prof. Dr. Şenel ÖNALDI: ` The art of Taksim, i,e. improvisation is the product of an assembly of the thoughts of a human being. How can a person have a such assembly, how can this be improved ? This is already existing in the nature although music is an human art. Animals have their own harmony while to so-called death and alive nature have their own. We call the rhythmically ordered form of this harmony the order tunes. However if these are not in an order, without rhythm and they appear as a happening we call them improvisation. This can be sourced from a human being or the Universe itself. For example, the unbalanced and non-rhythmic sound of the wind should be considered as an improvisation. VIFurthermore, what is human improvisation ? The person should before all things feed his/her brain with the sounds of the nature. Only this way some assembly can appear and improve according to the person's talent. Although there is no definition for the Taksim, I think it is the oldest musical form. Because the human being had to make meaningless, unbalanced sounds such as the ones in the nature much before the concepts of order, rhythm etc.. Because the improvisation already exists in the external environment of the human being. But, if we take a glance to our past, we see our long tunes among the improvisation forms. These are also a fruit of the art of improvisation. If these tunes have a very old background, then so is the improvisation. If our folk songs `Türkü` are born out of these long songs, as I believe they are, the trials for musical patterns at the East are the improvisation of the sounds from the human mouth. Thus we think today that improvisation begun with the human voice and not with instruments. The reasons which make the improvisation more beautiful, healthier and more harmonious depend on the person's satisfaction level. So, a such performance either it is done vocally or instrumentally indicate the great qualities of the performer. Thus a person can only achieve a such performance at the peak of his/her vnartistic career. This the only way the art of improvisation can be successful. Otherwise it would be a very simple way thinking to say that just any performer is capable of doing it. Because this is the highest level of art. In this, the culture of musical patterns and passages within, the general direction of the pattern and the practical mind within are extremely important. It would be meaningless to hope to get a proper improvisation from a simple mind.` Getting in to a syntheses of the above information, personal opinions and the information we have obtained from the studies on `Tokat - Reşadiye Openings`, we have prepared a `model` Opening into which we have added characteristics of Reşadiye region tunes. The general character of the Reşadiye Region's melodies unveiled during our studies are as follows; These openings normally consist of 2-3 parts. Within these parts there are long syntheses in a question-answer form. The lines of the melodies generally cover a narrow zone. The pentatonic line structure is dominant in the region. Thus, it is observed the region's music is connected to the Central Asian Music. VIII