Ankara ilçelerinden derlenmiş türkülerin müzik yönünden incelenmesi

Abstract

ÖZET Bu çalışmamızda Ankara ve İlçelerindeki halk ezgilerinden sadece oniki sözlü halk ezgisini tüm yönleriyle incelemeye çalıştık. Birinci bölümde giriş yer almaktadır. İkinci bölümde ise Ankara İlinin tarihçesi, coğrafî yapısı, oyunları ve halk müziği hakkında bilgiler verilmiştir. Üçüncü bölümde ele alınan ezgilerde inceleme plânından bahsedilmiştir. Bu bölümde ezgilerin notaları `edebî, ritmik, melodik yapılarının incelenmesi ve biçim incelemesi` gibi dört ana başlık altında nazarî açıklamaları da yapılarak ayrıntılı bir şekilde incelenmiştir. İncelemeler sonucunda Ankara ve İlçelerine ait oniki ezginin melodik, ritmik ve edebî yönden zengin ve dinamik olduğu, en çok rastlanılan usûl edebi ve melodik diziler ile ilgili çeşitli değerlendirmelerin tesbiti yapılmış bulunmaktadır. -V-

SUMMARY In our thesis we have tried to examine only twelve literary folk songs around Ankara and its administrative districts with all respects. In the first chapter, we have written the introduction, in the second chapter, we have studied the province Ankara with its historical, geographical structures and folk dances and folk music. In the third chapter, we have studied the mentioned folk tunes above. CHAPTER 1 Folklore is one of the most important factors which provides the nation standing by uniting it with its cultural values. One of the most important branches of folklore is our folk tunes as they cover a large area. Folk music gives us information about the past as well as our traditions, the entertainment understanding in the old days, the national likes and dislikes of the old days and the events in those days. When you look at the folk songs from this point of view, you notice that they social and historic importance as well. These tunes have passed from one generation to the other, from father to son, from the strings of one instrument to the strings of another, from master to apprentice comging thoughts, feelings, likes, understanding of the very near past while being sung by different players in different styles and have been important bridges between our time and the near past. Folk tunes are born as a result of our feelings of love, death, separation, longing, heroism, natural disasters, tribal fights and other social catastrophies alike to express the feelings of people in poetry or music through songs. Folk tunes are sung by wandering minstrels because the singers of these tunes are wandering minstrels. These songs are usually sung by different people and the first singer usually forgets how it was sung first, so the song becomes anonymous. These songs change according to the events have been experienced, the geographic district, the event which caused it to be sung or its subject. We notice these charges from one district to the other or from one town to another. When our people came across with different happenings they express their feelings in a different style and reflect these feelings in the rhythms of the tunes, measures, the sound ranges, the lyric, the structure in their regional manner of speaking. The `manners` of the songs differ in every region and show us how rich our folk music is. -VI-Because of the reasons we decided to examine only the city of Ankara and its towns, not the other parts of the country as we believe it to be the only way to get wider and healthier and better knowledge. Since the technology and communication systems are developing very fast we believe the studies which are being done and publication should be more scientific and up to date. There are some studies related to Ankara and its administratives in most parts of the country and these, studies exist even to day but when they are examined well enough, we notice the lack of system in these studies and more of them are academic. So noticing the need of this study on folk tunes has led us to this direction and into this study. We will study the works literally, melodically and rhytmicly according to their structures and forms. The terms which will be used can be expressed like; a) Chapters : Symbolised as A and B b) A complete music sentence : A whole which is formed as question and answer sentences (Have been symbolised as a, b). c) A smale music sentence : Other small expressions which form a complete sentence. Symbolised as x, y. When the form of tunes have been studied, it should be noticed that the numbers written below show the `time` of the music. Expressions which complete one another completely, are shown as `equal sentence` if there are similarities, expressions like `similar` or `twince` have been used. Example ` a' `, ` b' `. In the study we have scanned the possible sources fistly. Meanwhile the works have been analysed from a musical aspect and the expert tutors have been consulted. CHAPTER 2 Information on the history of Ankara, its geographical structure, Folk Dances and Folk music. -VII-The History Of Ankara Ankara is the capital of Turkey and is situated on many other previous civilisations and living centers. The city of Ankara used to be no larger than a small town until the `Liberation War` and has shown a fast development since then. It is the second big city in Turkey to day. The Source Of The Name The necessary knowledge about the source of the name can be found in two basic works. The first one is called `The Geographic Dictionary` by Stefanos Byzantinos. This dictionary confides in the words of an Egytion Monk Appollonias and says that the city had been founded by Gallats. Its first name was ``Ankiira` which meant the anchor of a ship. Gallats had followed the Egyptions until they reached the see and had required their anchor and decided to call the city by that name. Much later the city began to be called `Engürü` which came from Persion and which meant `grapes` in Persion. On the other hand, the castle of Ankara was built unwillingly and as a burden. This means `angarya` in Turkish. Another thesis on the subject is the word `Engürü` is the deteriorated form of the word `Angarya`. Geographic Structure Of Ankara The city of Ankara is situated between the altitudes, 38°, 33' and 40° 47' and longtitudes 30° 52' and 34° 06' in central Anatolia. It is 30. 613 sqarametre. Yozgat, Kırşehir and Çorum are in the East. Eskişehir is in the west. Bolu and Çankırı are in the north, Konya is in the south, Niğde is in the south-east. The Administrative districts of Ankara are : Altındağ, Çankaya, Yenimahalle, Çubuk, Elmadağ, Ayaş, Balâ, Kalecik, Haymana, Polatlı, Kızılcahamam, Güdül, Beypazarı, Çamlıdere, Sulakyurt, Delice, Şereflikoçhisar, Nallıhan. According to the statistics of population, Ankara has been the second big city after the city of Istanbul. -VIII-Mountains Most of the land in Ankara nearly % 27,4 is hilly and mountainous. The names of the mountains from the highest to the lowest are Yıldırım Mountain, İdris Mountain (Dedekaya Hill), Elma Mountain (Elmalı Dede Hill), Dinek Mountain, Balaban Mountains (Hızır Hill). Plains, Pastures, Valleys Plain are distributed to %14,7 of the whole area. The most important ones are Haymana, Ankara, Çubuk and Mürtet plains. The most important pasture is Haymana Pasture. Valleys of Ankara are; Balaban River Valley, Kızılırmak Valley, Sakarya River Valley. Rivers The most important rivers are; Kızılırmak, Sakarya and Ankara Suyu. Lakes The most important lakes are, Lake Tuz, Lake Mogan, Lake Emir, Lake Karagöl. There are also dam lakes called. Hirfanh, Sanyar, Çubuk I, Çubuk II, Bayındır, Kurtboğazı, Kesikköprü. Climate There is hard and cold climate in the south and the warm and rainy climate of Blacksea in the north of the city. Folk Dances A part of the folk dances of the district are danced with the accompaniment of folk songs. The folk songs are very rich and various and they alter from Zeybek tunes to `kaşık havası ` tuners or from `halay` to Semah` and we can also hear some dance music accompanying sport games like jerid (javelin), wrestling, tura. Traditional Ankara folk dances can roughly be grouped like this. 1- Folk Dances which are danced with the musical and verbal accompaniment. These folk dances are Halays, Zeybeks and other folk dances. -IX-2- Folk dances for spectacle and from villages. Folk Dances that are rather rich around Ankara and its district are: Arab Dances, Ghost Dance, Turtle Dance, Cripple Dance, Hide and Seek Dance, Marriage of the Lunatic Girl Dance, Ploughing the vineyard Dance and the Siever's Dance. Entertainments Women and girls aren't included in Ankara folk dances. On the other hand, women dance at Marrige Ceremonies among themselves on nights like `kına gecesi` (the entertainment night two days before a wedding, on vhich the bride had he fingers and toes freshly dyed with henna) or `sherbet night` (which is another entertainment night which sweet drink is drunk quite a lot) and another entertainment night which is called `ferfene`. Other important entertainments can be mentioned like this. Cümbüş Alemi, Cirit, Sıra Gezme, Çengi Oyunları (Belly Dancers). Folk Music `Cümbüş` is the name of the evening entertainment party where the quests have a chat. These meetings are the gatherings where folk music becomes mostly popular. The most important instrument is `the saz` during these meetings. The saz is played according to a tradition. Acording to the instrument playing traditions, folk songs can be qrouped like this : Divan, Kırat, Muhabbet Havalan, Oyun Havalan, Bozlaklar, Ağıtlar. Ankara is nearly as important as Aegean for `Zeybek Folk Dance`. Zeybek is called as `Zibek` or `Ziybek` around Ankara. Musical And Rhythmic Structure Intonation structure alter from `high` pitch to loq hitch gradually around Ankara and its administrative districts. The time whch are mostly used are 2, 4, 9 in that district. The Orders (Tuning Systems) Used For Bağlama Bağlama order, Misket order, Bozlak order, Bozuk order, Abdal order, Müstezat order. The Instruments Which Are Used In The District Bağlama, davul, zurna, kaval, zil, kaşık, mey, ada düdüğü, meydan sazı, darbuka. -X-The Most Famous Masters Of Bağlama In Ankara Osman Gençtürk (Genç Osman), Mehmet Koçer, Hisarlı Küçük Ahmet, Bayram Aracı, Adnan Şeker, Rifat Balaban, Burhan Gökaip. CHAPTERS The study plan for the tunes whick are being examined.. These are twelve verbal folk tunes and their notations in this chapter. Each of these tunes are studied under four headings as; rhythmic structure, verbal structure,melodic structure, and form examination. Notation Of The Tunes Each tune has been symbolised with different `letters` in chapters, sentences, or small sentences, what the letters symbolized have been explained on the notes and the meanings of letters have been explained in chapter. `The study of Form`. The Study Of The Literary Structure Of The Tunes In this chapter, verbal structure of the tures and their poetic kinds, their rhyming plans have been studied. The literary structures of the tunes (bent-kavuştak) have been studying trying to keep their unity while studying the rhyhme in each poetic line and the number of syllables and their pausing specialities. The Study Of The Rhythmic Structure Of The Tunes In this chapter the time and metronome values of the tunes and the total number of measures have been studied. The Study Of The Melodic Structure Of The Tunes `Cadanza` which forms the melodic character of the tunes and their power fiil equipment, sound range and other specialities all have been shown on one staff in a unity. The melodic progresses of there are any, sound lengthenings, melodic variantions and sound ranges have been shown considering their good for the musical structure. -XI-The Study Of The Structure And Form Of The Tunes Melodic words and rhythmic measures of the works have been symbolised and grouped after having been confirmed in sentences, concerning their smallness or greatness and qualities and the group results have also been produced. The small sentences, which have been confirmed have been shown as `x, y, z, a, P` and the question sentence as `a`, the answer as `b`. If there are any other sentences different from answer sentences then they have been symbolised as `c, d, e` etc. The capters have been symbolised as `A, B, C` with capitol letters. Tunes have been studied with on understanding that the smallest meaning ful passages ase `sentences`, the units which are formed by sentences and small sentences are `chapters`. As a result of all these studies, these twelve songs from Ankara and its administrative districts are noticed to be very rich melodically, rhthmically and literally and dynamic as well. -XII-BÖLÜM 1. GİRİŞ `Folklor` bir milletin bütünlüğünü, kültürünü, ayakta kalmasını sağlayan en önemli unsurların başında yer almakta ve geniş bir alanı kapsamaktadır. Folkorun en önemli dallarından birisi de halk türkülerimizdir. Halk müziğimizin önemli özelliklerinden biri de yaşadığımız toplumun geçmişi, geçmişteki yaşantısı, zevki, eğlencesi, geleneği, göreneği ve başından geçen olayları, belirtmesidir. Bu açıdan türküler, sosyal ve tarihsel önem taşımaktadır. Yaşantılar sonucu yakılan bir türkü dilden dile, telden tele, ustadan çırağa, babadan oğula aktarılarak, toplumun zevk, düşünce, anlayış, algılayış ve duygu süzgecinden geçmiş ve geçmişin kültürünü geleceğe aktarmada önemli bir araç olmuştur. Türküler; sevgi, ölüm, ayrılık, gurbet, kahramanlık, doğal afetler, aşiret kavgaları ve benzeri sosyal olaylar karşısında, halkın, duygularını şiirlere dökerek ezgilendirmesi şeklinde oluşmuş, genellikle kırsal kesimde bulunan türkü yakıcıları ve halk ozanları tarafından yakılmıştır. Bu türküler daha sonra dilden dile dolaşarak zamanla halkın içinde değişik bir şekil kazanır ve çoğunlukla yaratıcısı unutularak halkın malı olur, anonimleşir. Türküler yaşanılan olaylara, olayların geçtiği coğrafî bölgeye ve konularına göre değişiklikler göstermektedir. Bu değişiklikler bölgeden bölgeye, şehirden şehire hatta ilçeler arasında bile görülmektedir. Halkımız olaylar karşısında değişik şekillerde duygulanmış ve duygularını değişik biçimlerde ifade etmiştir. Bu değişiklikler, türkülerin ritmlerinde, usullerinde, ses genişliklerinde, ezgi yapılarında, konularında, yörelerine göre değişen ağız yapılarında görülmektedir. `Tavır` dediğimiz bu farklı anlatım tarzları halk müziğimizin ne kadar zengin olduğunu göstermektedir.