Musiki Mecmuası ve Türk Folklor Araştırmaları Dergisi`nde Türk halk müziği ve oyunları hakkında yazılmış makalelerin bibliyografya incelemesi ve sonuçları

Abstract

ÖZET Bu araştırmada, `Türk Halk Müziği` ve `Türk Halk Oyunları` hakkında yazılmış makaleler tesbit edilmiştir. Bu çalışmada konu, bir `Bibliyografya incelemesi ve Sonuçlan` olarak belirtilmiştir. Bunun için, şimdiye kadar yayınlanmış kaynak eserlerden `Türk Musikisi Mecmuası/H. Saadettin AKEL` ve `Türk Folklor Araştırmaları/İhsan HINÇER` adlı dergiler konu alanı olarak seçilmiştir. `Musikisi Mecmuası`, Mart 1948 'da aylık dergi olarak Müzikolog Hüseyin Saadettin AREL tarafından çıkarılmaya başlanmıştır. Dergi, üçüncü sahibi Ethem Ruhi ÜNGÖR 'ün yönetiminde yayın hayatına devam etmektedir. Bu dergide yapılan `Bibliyografya İncelemesi` 'nde esas konular ve altbaşlıklar ortaya çıkarılmış, konulan açıklığa kavuşturmak için açıklayıcı özetler verilmiştir. Tesbit edilen konu başlıklannın dökümü aşağıdaki gibidir: Türk Halk Müziği80. Türk Halk Oyunlan10 Türk Halk Çalgılan40 Kongre ve Seminer12 Kitaplar7 `Türk Folklor Araştırmaları` dergisi 1949 yılı Ağustos ayından itibaren aylık dergi olarak İhsan HINÇER tarafından çıkarılmış ve İ. HINÇER 'in vefatından sonra, 1980 yılı Ocak ayında yayın hayatı sona ermiştir. Bu dergide yapılan `Bibliyografya İncelemesi` de aynen `Musiki Mecmuası` 'ndaki gibi yapılmıştır. Konuyla ilgili araştırmalarda elde edilen konu başlıklan ve sayısal dökümler aşağıda yazılmıştır: Türk Halk Müziği130 Türküler ve Hikâyeleri115 Türk Halk Oyunları169 Oyunlar ve Festivaller61 Türk Halk Çalgıları35 Kitaplar17 `Bibliyografya İncelenmesi` 'nde, Türk Halk Müziğinde Çokseslilik, Pentatonizm, Söz ve Melodi, Derleme, Müzik Eğitiminde Halk Müziği, Halk Çalgıları ve Türk Halk Oyunlan hakkında yazarların görüşleri ortaya çıkarılmıştır. Bu görüşler 3. bölümde tez problemi olarak ele alınmış, değerlendirilmiş ve sonuca vanlmıştır. VII

SUMMARY in this study, I have tried to collect the articles written about Turkish Folk Music and Turkish Folk Dances. The subject has been chosen as `A Bibliographic Research and Result` and from among the Sources published up to now. `Musiki Mecmuası/Hüseyin Saadettin AREL` and `Türk Folklor Araştırmaları/İhsan HTNÇER`, have been accepted as the subject area: `Musiki Mecmuası`, which started its publication life with, Saadettin AREL, in March 1948, is stili continuing with its third owner Etem Ruhi ÜNGÖR and the bibliographic scruting into it has yielded the main topics, subtitles and summaries which have been lit on. The list of the titles is as follows: SubjectsCounts Turkish Folk Song80 Turkish Folk Dances10 Turkish Folk Instruments40 Congress, Seminars12 Books7 `Türk Folklor Araştırmaları Dergisi` was published as a monthly periodical by İhsan Hınçer. İt continued its publication for some time after the death of İhsan Hmçer in 1979 and having issued its 366th. number, ceased the publication in January 1980. The study on this journal was modeled on the same principles and in the same form as those cited above and the titles, subtitles and the numbers of entries obtained are shown below: SubjectsCounts Turkish Folk Song130 Turkish Folk Song and their Stories115 Turkish Folk Dances169 Festivals of The Folk Dances65 Turkish Folk Instruments35 Books17 VIIIThe study has been divided into four vertical sections and the publishing dates of the titles and subtitles obtained have been chronologically classified and added to the end of each chapter as tables. By means of `this bibliographic study` the ideas of writers have been revealed with the writings and articles published in these researches. These ideas were collected ali together. The common and opposite ideas were established and as a result of this, a discussion area came up. The own ideas appeared in this discussion area in the direction of scientific rules. So, a definite result was reached by moving from the thesis that were displayed by the writers. These results are as follows: Polyphony, pentatonic scales, the harmony of melody and words, the collecting of folk songs, folk music and education of music, folk dances, folk instruments, festivals and congresses. Ali these topics were discussed in chapter three and chapter four. The conclusion was reached and suggestions were made. The topics that came up were taken up in the following order. Polyphony: There are numerous polyphonic patterns in Turkish folk music. The examples found and brought into light by Lütfî Salcı were examined and accepted as true specimens of polyphony in Turkish Folk Songs by French Musicologist Augene Borel who praised Vahit Lütfı Salcı for his inventions. There is a polyphonic example below by Salcı VAHİT DEDE DERLEMESİ (1) ıı Q f. »f. l* f. l* l rV? r ı-f-*^V»-£pt-,ar4*l,-JL U 23C_g=-^^_-j----.___ ^m t^-l^-f^r-t*?1 DESTE /-m): Q ¥ '-*-*-^-***>>*--^^=^-w5-J^-4^^^^^^TT 7 İP (7`' itmn üilü.>«ne* <r it d!it.....'r 7 -1-0-^^-^=^-^____^_ l_ t -jr r.» g»- m ^frıP m^ T^f-*-«n. ~- D`TE< -W) ; // M /j / dğ f LL-^=±=±: U L/~~^rf^gZEZUT lTür b< nin lis tun.nakj eyI. dT ler °^ ^üL$?=$^m^^ >-^j y `'^ ``^'Ur '*i Ya jahı vt la yet*a *a h> ve '° >«t IXBesides, Turkish Musicologist Ahmet Adnan Saygım composed various polyphonıc songs as well. Here is an example from Ahmet Adnan Saygun 's work. Konyatyllk İÜfkûSİL İKİ SESLİA.A.SAY6M ' =fe^-* r. ç- u f' i ı^rTT! iT^fr``* frT'O`` t/, y r »-'-r-ö~r-'-r-F*^- tyV` İİL-LC. K'*` /AK-OA. Tf. 'T£K. -J_.ı.1 fT<^=- i^ ^^^_Li^_>^=^3p=fi=?rı^ -yF^b>' ' V3?`^ Jr-r^ TA*. LA. fi »t, İ.İM- C£ - t/î»/- iT»-;;&f. J J J Tl ^ »bzı^^t ^ f.`C/1 ^« - -.ji.Lf. MM:TA».LA.. ıtıA. Is there polyphony in Turkish folk-song? According to some writers, there is but for others there is not. Following the researches made during this present work, it has been concluded that, there is polyphony in Turkish folk-song and its instruments when it was studied with the scientific rules. However, it has not been placed in a scientifıc system yet. Some musicians have composed Turkish folk-songs in polyphony according to the western music forms. The folk melodies that were composed in western music form lost their essence. Westem Example /.*///../»..Viltoriı f 1535 -ff O t) >.` - w^^^^Jal^U-^4ff=^4^f^^ YPentatonis Scales: The other subject is pentatonisme. The origin of The Turkish Folk-Song is Îvliddle-Asia. For this reason, pentatonisme has been seen in Turkish folk-song melodies. Especially, this five-sound tüne (Do-re-mi-sol-lâ) has been seen in the areas where Turks live. This tüne has usually been observed in some villages and among the emigrant communities settled down in Anatolia from Middle- Asia. Because the Turkish folk-song met heptatonic that is seven-sound tunes (Do-re- mi-fa-sol-lâ) in Anatolia, recognizing of pentatonic tunes is not easy. Pentatonic Scale ~^y `ö~` Some native and foreign musicians considered pentatonic scales in Turkish Folk Music primitive and unsophisticated. Whereas, the eminent Musicologist Prof. Dr. Robert Lach studied pentatonic scales in his excursions in Central Asia and in other Turkish countries and said: `There is a unique example in the kinds of music in Central Asia which is interesting in terms of tone and structure. it is distinguished of tone with its independent scales and sounds. it has a scale of fıve sounds and has a parallel structure of two, four ör eight measures.` This fi ve sound scale also exist in China, India and Japan now. Japanese Pentatonic Scale.p! ! ! ! ' ! i Ilı^Vr-.. A-y!''l* &-'-73-7 Yok. R!T5U - ı Vn(~>f***.'. i,,... -- *-*_^_ ^ll'l (Çin'den yayılan bir ad) ıjjıl flı{j(l V.0. PO Ijjj(Şehir ezgisi) Bela Bartok, a Hungarian researcher and editör had found pentatonic melodies in his researches among the Türemen tribes in South-Anatolia. Bartok says: `There are pentatonic melodies in Hungarian folk-songs. Six of the melodies which I collected in South-Anatolia are exactly like and eleven of them are as to the point of construction similar to Hungarian folk-song melodies`. This shows that Hungarian people also originated from the Middle Asia. in other words, they are Turks. in fact, XIhistorical sources written down show that they are Turks. This means, wherever there are pentatonic tunes, there are Turks there. That is a pentatonic example: I'KNTATONİK K/GİLKKKM. Rae.p (iazimihul 1932HUZURUMDAN KİK ÖKNKK Q ^^^j^^_j^r^.^^p^!^ ^,, -^_^-,ir~~3Eff'~ı*-p^-p:-? /m ı*~T' p-^-^ı*-{-+-if-f>-»-l-t-f-yi^-y-^-IH-lr^il ^^S^SS3^^^^S^S3^^£*£Î^^=E].I -~^^^^*^*2S The Words and Melody: Harmony of words and melody in Turkish Folk music: There have been claims and counter claims on this subject. According to some, melody is more important than words and others contend that words carry indeed more weight than the tüne in the Turkish folk music. it is known that folk singers in the early Turkish literatüre attached great prominence to words and the real ones wrote their poems first and then sang them with accompaniment of their instruments. This is the correct approch because a good composition is made solely for a poem and if it captures the essence of the words, the tüne enhances them and the music becomes an aesthetic whole. A poem already has inner rhytm ör melody and the trouble is to capture it. The folk singers who managed to feel this harmony and who camposed this music on it, became popular folk singers and their works have become immortal. Collecting of folk songs: The collecting must be carried out according to a method and under strict discipline, regardless of the type of folkloric activity. The collected works must be published seriously. Only then academic circles can make use of them. A collection should not be made for personal use. The whole world is going to use it. A person with a profound knowledge of musicology and folklore has a right to make modifıcations in the arrangement of the tunes collected. People who are familiar with the region are V!)entitled to make alterations too. Words in collected songs which are offensive to people and harmfiıl to the national unity and traditions can be changed. The faults in prosody can be remedied. Besides, the collecting is made according to tones of Turkish classical music as well. Turkish Folk Music is a music of tones too. People who have specialized in this area can find the tones of folk songs easily and correctly. Turkish Tone Called `Makam` HÜSEYNİ MAKAMI Hüseyni beşlisiHüseynide U§§ak dörtlüsü _A__JIZZIZZZZZ^Z4^IZZ^==] ^a==^^^gZg__=====^ 1^==^=^===^^ Folk Songs and Music Education: The writers have expressed their view on the importance of the teaching of music and they ali agree that this education should start with folk tunes. World famous composers have made use of the folk tunes of their countries and composed symphonies, operas and eternal works. The musicians who grasped the value of folk tunes based the instruction of music on them, Even, Beethoven searched out original folk tunes for his. Third Symphony, `Eroika`. Bela Bartok, öne of the greatest camposers of 20th century with the arts revolution he is identifıed with, has enlightened the fütur development of the arts not only in Hungary but also in ali developing countries Bartok produced the Hungarian classical music from Hungarian tunes. The character of a nation can be seen the most visibly in its folklore. This is why folk music expresses the music genius of the people and so has a great social value and identity (character). This is the reason why those who have understood this reality and believed in it, have also given great prominence to it. Folk music is a folk art. it is highly esteemed because it is the musical articulation of collective consciousness and genius of masses. YITlFolk art is very valuable not only because of its folkloric, scientifıc and sociologic importance but also because of its place in national education. Masses quench their thirst for mental and musical satisfaction and especially their thirst to express themselves only with folk music, it is also an effective medium in national education. Numerous nations in the world regarded real folk music as a vehicle in national education and placed great prominence in it. Country love YAK KİMDEN AUNDI6I;_. ctlFR MF rÜ7ri FMFRNOTAYA ALAN SAADETTİK KUTLUB'Z'M ELLER NE GÜZEL ELLERM.SAKİSÖZEN âdg ^ pH*^f^^r=^x^^==ff^_=^ ~T> <ff==:^^^^^E: Bİ 2İM ELLE Rİ NE GÜ ZE LELLERSOYLESİN Sİ IUNDİL LEROYNASINKOÇ Yİöl T LER in two international congresses on the teaching of music, held in Prague in 1937 and in Brussels in 1953, a resolution calling that the education of music should start with folk songs and teachers should be encouraged to teach them to the children of their countries, was adopted with a majority of votes. Folk tunes should be taught without an accompanying instrument but if it is really regarded as a necessity, then folk music instruments should be used. Children 's music culture should be based on folk music. in the teaching of general subjects in schools, the mother tongue is used. Similarly the instruction of music should be carried out through folk tunes; this is because both the mother language and the folk music are internalized easily by children. If a person knows his mother tongue very well, this will undoubtedly facilitate the learning of a foreign language. This is also the case with the education of music exactly like gradual unfolding from the known to the unknown, from elementary sentences to sophisticated utterances.Majör and minör tones are utilized in music education. However, the tones of universal music are different. The folk music in the Balkans and in Turkey has differrent tones and they are employed in the teaching of music in these countris. A child acquires the language, the dialect and the music of the environment in which he was born and grew up. He doesn't forget them easily. The appreciation of music in a child starts with lullabies and develops commensurate with its environment, aptitude for music and sensitivity. The place of folk music in this process is very big. City love YQ RF^ İ ^TiSrDERLEME TARiHi KİMDEN ALINDISINOTAYA ALAN HAYDAR BAYÇINAMAN AMAN NALBANDIMM SARIŞKEN 3ÜRE S2 Af `f^~tt^fOFA MAN A MAN NAL BAN DIMNAL BAN DIM SARAMADIM AL DAN DİM Of aman aman Manisa Manisa üzümün bolca olsa Of aman aman İzmir 'im İzmir 'im alın beni gezdirin Lullabies and child soothing songs are a wealth of musical products for childhood in the traditional Turkish folklore. These are the neatest and oldest examples of folk music. This means that a child's ears are füll of folk tunes and the education and instruction of music must be based on them. The Folk-Dances: Turkish Folk Dances were introduced into Anatolia from Central Asia and, in the process they encountered various cultures which exerted some influence on them, but the identity of Turkish Folk Tunes remained intact. This phenomenon aroused the interest of foreigners. `Zeybek Dances` are not, as some claim, Greek Folk Dances. `Zeybek Dances` that sign the Turkish bravery has specially been seen in the Aegean-Region. Some foreign writers have displayed that this folk-dance (Zeybek) has been taken from Greeks. That is not true. Zeybek Dance has been played in Turkish countries of Middle-Asia. XVAn Example of Folk - Dance DERLEME TARİHİ KİMDEN ALINDI?IESKİŞEHİR ZEYBE?İ' ' Np-AYA ALAN OSMAN ÖZOE'.'K C İ «J Hungarian scientist, folklorist and Turkologist Dr. Kunoş visited İzmir and Aydın in 1885. He explained his ideas as a turkologist in his book called `Turkish Folk Litteratture`. He did not write anything about the Zeybek folk-dance not being a Turkish dance. He also explained that the words (Efe) and (Kızan) used in Zeybek Dance are real Turkish words and used in many parts of Turkish countries. in addition to this, English folklorist Bovi who studied in Greece, mentioned that 9/8 rhythmic Tukish measures are played in Greek islands with the name of `Turkikos` because, there is no 9/8 rhythmic in Greek music. Zeybek Dance passed from Turks to Greeks. The Turkish folk-dances with Middle-Asia origin are also influenced by the cultures which had lived in Anatolia. it is similar ali över the world. Festivals: Turkish Folk Dances and Turkish Folk Music Singers have been trying to show their skills both in Turkey and abroad. A nation 's folk dances and folk music is like its flag. So, to present them in the best way and to represent the national culture mean to increase the esteem of the nation. Since folk singers and dancers who perform abroad also represent their countries, they must be chosen from among highly skilled and educated contesting applicants. They must be aware of national and universal cultural values. The ones who are fluent in foreign langues can represent their culture well in foreign countries. XVIOn 16.05.1996, a National Folk Institute was established by the Ministry of Education in Turkey. Today this institute continues to exist under the Ministry of Culture as Department of Research and Development of Folk Cultures. In addition, a state folk dance ensemble has been formed again under the Ministry of Culture. The establishment of this group was 1974. Up to now it has performed in 47 countries. Congresses: Congresses are held with the convening of scholars to present papers in order to reach a conclusion. Each participant approaches the subject from a different angle. These diverse views are presented, discussed and those which are found to be scientifically valid are evaluated and a solution is reached. Participants must follow the papers read and listen to them carefully. The papers which are not strictly on the subject in question should be eliminated. That is why participants must be chosen from the scholars who are experts on the topic. Speakers should not exceed the time allocated to every induvidual. In addition, professional translators who are well acquainted with the subject discussed should be employed throughout the congress and the papers presented must be published in at least three foreign languages. Books: Foreigners have been doing research and writing books on the Turkish Folk Music and Turkish Folk Dances. During the process of propagating the culture of a nation abroad, great care should be taken in giving right and adequate information. This way. Turkish scholars must be encouraged to write books on Turkish folklore because many erros have been detected in books by foreign writers. The abbreviations used in writing of the thesis are as follows: MM TFA THM THO THÇ TFK Musiki Mecmuası (Magazine of Music) Türk Folklor Araştırmaları (Name of the Magazine Folkloric) Türk Halk Müziği (Turkish Folk- Song) Türk Halk Oyunları (Turkish Folk-Dances) Türk Halk Çalgıları (Instruments of Turkish Folk-Song) Türk Folklor Kurumu (Foundation of the Turkish Folklore) XVIIThe explanation of the titles in bibliographic study is as follows: 01 ATUNER, Ferdi: Sadi Yaver ATAMAN ile Konuşma. Musiki Mecmuası. (177-178), 11-12.62, S. 268-269, S. 281 01 : Code number ATUNER : Name of writer Ferdi : Surname of writer Sadi Yaver ATAMAN ile Bir Konuşma : Title of the bibliographic text. Musiki Mecmuası : Name of the Music Magazine. 1 1-12.62 : November-December. 1962. S. 268-269 : Pages of the magazine. S. 281 : Another page of the magazine. The sources of the thesis are `Musiki Mecmuası (Magazine of Music)` and `Türk Folklor Araştırmaları (Magazine of the Turkish Folklore Researches)`. These two magazines are still at the Beyazıt Library in Istanbul. In the examination of bibliography, in source magazines seven types of subjects were divulged. These subjects are respectively as follows: 1. Turkish Folk Music 2. Folk Songs and Their Stories 3. Turkish Folk Dances 4. Festivals 5. Turkish Folk Instruments 6. Congress and Seminars 7. Books Bibliographic examinations are done and explanatory outlines are given of the seven subject headings above mentioned. By the help of these explanatory outlines, researchers will be able to find the subjects they searched for, without losing time. By giving one example from each of the seven subjects which are bibliographically examined; this survey study is put forward. XVIII