Türk halk müziğinde çokseslilik kavramının değerlendirilmesi

Abstract

Bu çalışma, Halk müziğinde çokseslilik kavramının genel olarak değerlendirilmesini içermektedir. Bununla beraber iligili konulara da yüzeysel olarak değinilmiştir. Birinci bölüm, konuyla ilgili girişi ; ikinci bölüm ise Türk halk müziği hakkında kısa ve öz bilgileri kapsamaktadır. Üçüncü bölüm çoksesliliğin ne olduğunu, çoksesliik özelliklerini ve evrimini; Dördüncü bölümde halk müziğinin mevcut çokseslilik özelliklerini anlatmaktadır. Beşinci bölümde halk müziği ezgilerinden yola çıkılarak yapılan çoksesli çalışmalar; altıncı bölümde ise yapılan bu çalışmalarda ortaya çıkan genel problemler incelenmiştir. Sonuç ve öneriler bölümünde konunun kısa bir özeti ve sonucu etkileyebilecek öneriler; Ekler bölümünde ise, konunun daha iyi anlaşılması için gerekli notalar verilmiştir.

Before we start discussing the subject called ` The multi voiceness in Turkish folk Music` let us concentrate first on some related issues. Below are some of the descriptions given for Turkish Folk Music. `Turkish Folk Music is a product of the Turkish mentality and sensations, created in relation with the Turkish history and social events, and also under the influence of the geological position and all the migrations.` `The Folk music is the music that belongs to the to the essential of a nation. It is a set of creations generally born by the expression by an individual or a nation without any effects and then adopted by the whole of the nation in time.` `The folk music is the music in which the people living on our territory come together in terms of their sensations and mentality. No matter how different the local tunes are, it can be seen that all the folk songs ( `Türkü`) carry the same general characteristics. A melody can only be accepted a part of Turkish Folk Music if it has the following characteristics 1) Being anonymous 2) A certain depth trough the history 3) A certain local popularity 4) The song to carry the local language and music characteristics. 5) The song to go around from person to person, from master to disciple 6) The song to be adopted by the people and absorb its personality 7) The song to belong to the people and to be known by everybody 8) The song to be dynamic, not static 9) The song to carry variancesUnlike the mono voiceness, the muHi voiceness is the utilization of two or more vocals or instruments simultaneously. The roots of the multi voiced tunes has been a subject of discussions. Some experts suggest that this music begun with the Jewish religious rituals, while others saying that this is born from the Muslim tunes adopted and modified by Italian sailors and gone al the way to the coast of Flandre with them. The multi* voiced music, born in Europe in the 9th century is considered as one of the biggest innovations of the European composers. The nations used different means to express themselves trough the history and therefore have developed different ways of self-expression. The Turkish Music has chosen its own way of self-expression with a monotonous structure with its own sound system, way of interpretation, forms and styles, and rhythm characteristics; and the different ways of local playing and singing techniques forming our traditional Folk Music provided a special ranking for our music. But this can not be expected to keep the same performance and line in every age and also in every formation. This is the reason why it should not be found strange that the Turkish Music is in a research period and there some new trials within. This should be accepted as a product of changes in the life. The studies have brought many discussions. From national to universal ? or vice verso? this question has been launched and the both thesis have found many supporters. It seems that it is very difficult that our traditional music takes its place in the universal platform keeping all its characteristics untouched. Therefore some changes arenecessary. But tills changes should be studied very carefully with respect to their potential effects on the national identity and extreme caution should be spent to avoid these changes spoil national identity. It is trough that many people don't agree with the multi voiced versions of the famous folk songs. But its is also a fact that a great number of the youngsters, specially teenagers and university youth are delighted with this kind of music. The harmonization of the folk music, composing piano or orchestra companions for the folk songs, tiie large utilization of these is seen in every country and every nation of the world for a long period. Ludvik KUB A, the Czech painter and folklorist, went all trough the Slav world, noted tens of thousands of folk songs and composed piano companions for these in his Slavish in Tunes. Although there has been some different ideas on which title can be used for these creations, the concept multi-voiced folk songs has been used consequently. In this study we don't intend to give any judgment to the trials made by the composers with a classical music education. But our real aim is to get their point of view as their different interpretations form not only the earliest but also the highest leveled work in this subject. The studies that could not be held for different reasons before the announcement of the republic, gained a certain speed with the republic under Atatürk' s leadership; State Conservatories were founded, young musicians were send abroad for music educationand it has been provided that those who choose the way of composing are trained among them, some of these early composers have been grouped under the name - influenced by the `Russian five's`- ` The Turkish Five's`. It can be said that Cemal Reşit Rey and Adnan Saygun are the most important among them. The common characteristics of these five composers are their interest in the Turkish Folk Music and the Turkish music called `classical`, their way of `processing` the folk tunes and rhythms with western composing techniques and their aim for the local inspiration. Adnan Saygun who had his education under Vincent D'Indy and Eugene Borrel in Paris and who had a big popularity in Turkey and a limited one in abroad with his Yunus Emre Oratorio, merited this reputation with the interesting subject of his work more than the musicality of it. The later harmonization's made by the `Turkish Five's` that can be called their work of age of maturity, are considered somewhat much more successful. Because,t has been later discovered that it is not enough to consider the Turkish Folk Tunes in the concept of accords and acting accordingly. Because the tonal and modal bodies of our folk songs are much more suitable with `counterpoint` which is a horizontal technique than the vertical multi voiceness technique of `harmony`. The conclusions of this study can be summarized as: Turkish music is a mono voiced music and its body can not handle multi-voiceness. Although it has some multi voiceness characteristics, these in fact don't relate to it. Specially samples of multi voiced music in the vocal music are negligible and besides the instruments of the Turkish Folk Music are not suitable for a multi voiced interpretation.One should not have the judgment that because these characteristics the Turkish Folk Music has a inferior structure. This is the way of expression of the Turkish Music. It should be remembered that there are many awful mono voiced musical works as there many low quality multi voiced musical works. So, it is recommend that multi voiced musical trials based on Turkish Folk Music tunes should not be made. Instead new compositions of folk songs and arrangements of these can be considered. However, if multi voiced musical trials based on Turkish Folk Music tunes are to be made, there are some strict rules that should be regarded. First of all it is necessary that the person involved should have a musical base of Turkish Folk Music and should be an expert of an instrument. Then he/she has to be able to extend his/her musical scale in order to create a bridge between the local and universal music's. Only with these conditions, the folk music can exist with its own characteristics. The last phase is to find an appropriate name for these works. It is evident that some studies have to be done to get our spot in the international field without losing our national identity. But first the needs of the mono voiced interpretation sholud be performed. In this order it is necessary to solve the present problems among the vocal groups should be solved and diciplined and regimentary groups should be formed. Beside these vocal groups carrying the specifications of a proper choir, the problems regarding the instrument groups should be handled and these groups should get a Orchestra character. In the both fields the problem is training and trained personal.The current structure of the Turkish people is not suitable with the multi voiced music. The appropriate environement should be granted before asking a such interpretation form the people. Then we shouls let the passing period flow as it happened in the west, and then finally get the benefits. Otherwise, these stuides - no matter what they indivually mean - would not have any neaning to our people and they would not constitute more than bady copies in the western opinion. Al the above points gathered as results of the observations, will undoubtly be discussed for years. But if only the theorical part is considered, there will be nothing in hand beside talkings. Therefore these searches should be held in the right framework. Otherwise it would be quite optimistic to anticipate any improvement in our music.