Taş plaklar ve taş plaklardaki Türk halk müziği ezgilerinin kataloglanması

Abstract

ÖZET 19. yüzyılda toplumun müzik dinleme ve eğlence ihtiyaçlarının giderilmesi amacıyla ortaya çıkan taş plâklar, kısa zamanda büyük bir sanayi haline dönüşerek Avrupa'ya yayılır. Ancak ilerleyen teknoloji ve yeni pazar arayışları Avrupa taş plâk sanayini doğu ülkelerine yöneltir. Böylece doğuda önemli bir merkez olarak İstanbul pazarı keşfedilir. Avrupalı taş plâk firmalarının büyük medeniyetler beşiği olan istanbul'a gelişi çok uzun sürmez. Nitekim çok kısa bir zamanda merkezi İstanbul'da olmak üzere Türk taş plâk sanayi oluşturulur ve böylelikle taş plâklar Türk Kültür hayatının en önemli bir parçası haline gelir. Artık Türk toplumuna ait eğlenceleri, sosyal hayatı, müziği, vs.'yi taş plâklarda bulmak mümkündür. Birinci Dünya Savaşı ile birlikte Türkiye'de güçlenen `Milliyetçilik` akımları ve özellikle `Milli bir Türk Müziği yaratmak` fikri Türk taş plâk sanayiinide etkilemiştir. Zira bu dönemden sonra taş plâklarda Türk kültürünün en önemli bir parçası olan Türk halk müziği ezgilerine daha fazla yer verilmiştir. Cumhuriyet'in ilânından sonra taş plâklardaki Türk halk müziği ezgileri daha da önem kazanmış ve sayısal olarak artış göstermiştir. Bunda ise Cumhuriyet'ten sonra başlayan derleme çalışmalarının etkisi olmuştur. Türkiye'de taş plâklar sadece Türk halk müziği ezgilerinin dinletimini sağlayan plâklar olarak kalmamıştır. Zira değişen düşünceler ve gelişen teknolojinin sonucu olarak, Türk halk müziği ezgilerinin toplanmasına yönelik olarak yapılan derleme çalışmalarında da taş plâklardan istifade yoluna gidilmesini sağlamış ve böylelikle Türkiye'de 1926 yılından itibaren gerçekleştirilen tüm derleme çalışmalarında taş plâklar kullanılmıştır. Bu durum ise taş plâk üretiminin sona erdiği 19601ı yılların sonuna kadar devam etmiştir. Taş plâklar ve bu plâklarda yer alan Türk halk müziği ezgilerinin kataloglanmasına yönelik mevcut çalışmamız üç bölümden oluşmaktadır. Birinci bölüm olan giriş bölümünde; konunun önemi, konuyla ilgili çalışmalar ile çalışmamızı ne şekilde, hangi yöntemlerle gerçekleştirdiğimiz anlatılmıştır. İkinci bölümde; taş plâklar konusu detaylı bir biçimde ele alınarak; bu plâkların tarihçesi, Türkiye'de bir sanayi şeklinde ortaya çıkışı, bu sanayinin gelişimi ve yayılımının yanısıra, taş plâklarda Türk halk müziği ezgilerinin yer alması ve derlemelerde taş plâkların kullanılışı kronolojik bir yapı dahilinde incelenmiştir. Üçüncü bölümde ise; taş plâklarda yer alan Türk halk müziği ezgilerinin katalog çalışması yapılmıştır. Yapılan bu çalışmada taş plâklarla ilgili yazılı doküman ve araştırmalar ilk defa biraraya getirilmiştir. Özellikle katalog kısmı bu konuda yapılmış ilk çalışmadır. Mevcut çalışma oluşturulurken tamamen bilimsel metodlara bağlı kaimmiş, bu arada geleneksel inceleme tekniğinden de istifâde edilmiştir.

SUMMARY The stone record which emerged in order to meet the needs of society music listening and entertainment. Created by Thomas Alva Edison when he invented the photograph. In the years of invention of photograph the beeswax records used in photos but later as a result of experiments the stone records took place of it. Because the stone records had better sound than the beeswax records. They were also more substantial. The stone records that were used often in 1892 brought becoming industrialized and in a short time the stone record industry built in Europe. But the progressing technology and the world war one led the European record companies took look for other markets. As a result of this, the record companies moved to east. But the main reason for moving to eastern countries was, that the eastern countries had different ethnic groups. Also these countries had no strong external relations. In the way of these thoughts and the commercial benefits, the European record companies started sending the technical's to these countries to make recording. Then they produced and increased the records in their factories and sold them to eastern countries. They continued until the European companies completed the investments and installed their record industry here.One of the most important market; which the Europeans realized was Istanbul. Because in that days, Istanbul was the capital of the great sovereignty and this city had been a suitable place for ethnic groups. In this meaning Istanbul was not only serious but rich city for Europeans. At the moment the European record companies moved to Istanbul, the citizens of Istanbul sharing the first meeting with phonograph. There was no certain date about when the phonograph came to Istanbul and no historical judgment about the First visit to Istanbul. Another point is that the citizens didn't like the phonograph. Also the nations which were dominated by Osmanlı Empire, thought that this was gigour invention. The idea of giving the call to prayer with phonograph brought the antipathy of religions society. In May 1900, The first recording in Turkish by Foreign Companies was made by a man called `Tantrix` who was a German technical. That day is also important about the western record companies come to Istanbul. The date 1911 was rather important for Turkish record history. The Blumental brothers built up the first Turkish stone record factory called Orfeon record in Feriköy. As a result of this, not only the recording, but production of records would take place later. The Blumental brothers could dominate the production of Turkish stone record since 1925. During that period, they made very serious records that were useful for Turkish culture. In 1929, a British Company started producing the stone record by instally phonograph Turkish Limited. So the stone records called 78 increased everywhere and the Istanbul record market was dominated completely by western companies activity. By the proclamation of Republic of Turkish stone record industry got more increase and the newness attempt was seen on the stone records. That newness attempt; remained until 1940. One hand the record companies were managed by monopolist, on the other hand the increase role of radio and the -yii-progressive technology caused 33 and 45 turn records were preferred instead of the stone records. 78 turn stone records could exist until 1960's. Long years, both the native and the Foreign Companies produced the different stone records which included the richness of Values for Turkish culture. The tone of Turkish folk music, as one of the values, has a very serious sitation. The Turkish folk music that took place in stone records became more serious after the proclamation of Republic. Since 1926, there has been choosing and gathering study which has been useful in gather. The tones of Turkish folk music and using them in stone records. So, by Darül-elhân. It was seen that phonograph was necessary and it was important and first steep to use stone records in choosing and gathering. So, the stone records which existed in choosing and gather by Darül-elhân remained use phonograph in choosing and gathering. Because without phonograph, the tones would show differences in each records. As a result of this, even if the reader had a great talent, this could made the choosing and gathering became more difficult. But with the phonograph the complex on tones could be understood easily. The choosers who sow the avantages of phonograph, choosed the way of using phonograph in choosing and gatherys tones in late years. The stone records had been used until 1965's. Because by the progressive technology and the needs of age showed that there was a need of more substantial and regular sounded one instead of sound record, so the period of stone record mission ended. But the use of stone record in Turkish folk music kept on taking place fore few years later than the production of stone records stopped. As the inevitable result of this, the stone records which used in Turkish folk music has become a magnificent resource. Today it is known that the number of stone records used in Turkish Folk music reached more than 10.000 found out by the official archives. But unfortunality, the stone records haven't been used at all. Because it is still unknown vm-where the most of them are. So that study is very important in finding out the tones of Turkish Folk music in stone records. Because the old studies couldn't reach the enought point. The subject about the stone records hasn't been taken serious until today. The knowledge's about the subject are both inefficient and disorganized. So the knowledge's about the stone records have been searched by getting the archives of library and newspapers in very difficult conditions. Despite this search we still don't get the complete knowledge. Generally the knowledge's are in shape of dhat article and essay. Also it has been very difficult to find out the resource about the Turkish Folk music tones on stone records. Because the knowledge's about this subject are inefficient That situation is very upsetting the stone records which constructed the Turkish stone record industry. To listen the tones of Turkish Folk music on stone records in archives has-been difficult as much as getting the resources about stone records. The main point is that the people have been prevented from making a research on archives. Also in most places it has been surprisingly said that the devices which played stone records where out of order as excuse in our opinion, this kind of inconsistent reasons are very upsetting and careless behaviors for not allowing the resources to be found out in archives. But this unacceptable approach can't effort stopping us. We have still been looking for stone records and specially looking for a device which the stone records could be listened in it. But the investigations showed us that would be too expensive for us to get a device. On the other hand the personal archives scanning has reached scanning by our efforts, we clearly see that we have the efficient details and deacomcats. So it has been started to write the knowledge's about the stone records an to classify the details on stone records. IX -Firstly, the details of Turkish folk music tones on stone records have been prepared on inday cond. This inday cond the first lines of tones, their local names regions, kinds, when they were read and who read and played them, the musical instruments used, tones with vocals on our instrumentals. The companies which have the records the numbers of records, which archives they belong to and the sides of records. Then the vocals and instrumentals divided in two groups in alphabetical order starting with vocals. All the cards numbered and the conds in number order were written on a paper. Also we prepared the index which includes the lines of tones, the resource man, the regions and the record numbers. Also it is possible to find the archive number of records and the records in which archives in this index. At the end of the study. It has been done that to compare the tones of Turkish folk music to repertoire of Turkish Folk music of İstanbul radio. So it is seen that. How many of tones of Folk music on stone records take place in this repertoire. The kind of these tones (Uzun hava, kink hava) are shown. As a result of this research and studies to complete this thesis showed us the importance of stone records on choosing and gathering life and the specialties of Turkish Folk music tones. Especially the catalog study. In this study makes the thesis become more serious because the catalog study is the first research and study in this subject. Today the stone records which are thought as nostalgia in some people's opinion historical are the cultural legacy. Because if you fallow the periods of stone records, you will be able to reach social and cultural result. There hasn't been a detailed study on most of stone records. So it is difficult to investigate for us, to find out these records and examine them for the Turkish cultural history.