Trabzon yöresindeki yayınlanmamış ilahilerin incelenmesi

Abstract

ÖZET Bu araştırmada, Trabzon'da hanımlar arasında söylenen ilahilerin, müzik cümleleri, ritmik değerleri, makam incelemesi, ezgiler içindeki nota değer belirlemesi, motiflerin incelenmesi, motifler ve ritimler arası varyantlar, melodi analizi ve kaynak modelin elde edilişi ile edebi inceleme ile Trabzon ilahileri hakkanda bir yargıya varılmıştır. Türk Halk Müziğinde ayrı bir yere sahip olan ilahiler hakkında, yöresel karakter belirtilmeye çalışılmıştır. İlahilerle ilgili çalışmamda uzman kişilerle görüşerek, fikir alışverişinde bulunulmuş ve kaynak kişi olarak Altan Demirok'dan yararlanılmıştır.

IV SUMMARY The meaning of divine is a kind of spiritual attempt to contact the God and something related with the Allmighty. Also divine is to praise Allah and a form of Gospellike music which deseribes the unique personality of the Allmighty. Such divines are performed in 7.8 or 1 1 syllables. These divines might also be performed in 3.7 or 4 rhytmusses. The divine, which is one of the most important subject of the Tekke` (religious chamber of believers`) literature have nearly by been performed and handled by the most poets. The most important subject of the divine is the unique personality of Allah. most of the people like praying, I.e they desire to communicate with Allah and they frequently experss their feelings and tendencies towards the Allmighty and they do try to find the best expressions and words to praise him accordingly. Since centuries many people have prayed and praised Allah and their praises were based on expressing their corchall thanks, compliments, begging his support in all respects. The divines are based on gratefullness, praises and the reasony of their praises are explained hereby. The Allmighty is to be praised because the Allmighty is the unique compassionate and mercifull over everything and has created the wonderfull world with its unique beauties you ever saw and the Allmighty has proven his compassionate and mercifall character during ati times. Therefore, we have tried to find the ruots and origins of these divines which are related with the have respect and praise towards Allah and we also have investigated some of divines being performed by the believers from Trabzon region. Since there was no any investigation performed on the divines in relation with the religion upto now, therefore we have choosen this subject, which is an important part of our religion. Upto now, some people or Broadcasters have only broadcast the music notes and some of literatural printed matter there of. That is all what happened upto date. Inthis study, we have mainly investigated the rhythms, but not the notes, musical sentences, maqams tunes, melodies, the notes being used within those divines, motives and the variations between the motives and rhythms, analysis of melodies, provision of the source model, literatural study of divine being performed by the women from Trabzon region and we have found out the real musical character of such divines and Gospels from Trabzon region. Referring to the results obtained upto now, an appropriate study and evaluation will be possible to perform on the spiritual music and musicological activities there of Our studies were based on 7 different divines we could found out of Trabzon region and we have limited our activities within this region. During this study, we have used some of tunes, melodies of special divines and some of literatural sources concerned. When we take these 7 divines into consideration, we may summarize the results as follow. But if we explain how we have performed our previous studies there on, the following aspects are the summary of such studies. During harmonious studies, we have determined that measures in the melodies are separated one by one and a certain value-rate is determined precedently. For instance, when this unit value is choosen as 16, 16 value rates are calculated at each measure and described on the table with separated note names. There after, the relavant 16s are accumulated respectively and the resulting number will be the total of the eqivalent values corresponding to each counter not value in the entire melody. Then, the note values are calculated under percentages between their values. After the percentages of each notes are determined, tha not which contains the must value percentage is the governing, important voice pitch desired in the melody is reflected thereon. As you well aware, the maqams (harmonious) are divided in different music arts and they have different features. The most important feature which differs one mauam from the other is the musical voice pitch level and other one is more stronger voice curtains thereof.VI depending on the majority and minority of maqams, the importance of each voice pitches are determined & respectively. Thereafter, the must strongest voice pitch level is detirmined accordingly. You may see all of these values on the value tables respectively. The total of percentages of these tables group reflect the common voice pitch grades deciding the pitches of melodies on the melody more than one clearly on the board. The results obtained from the study performed on the divine Nr. 1 are as the following. The foil tendency voice pitch is `LA` voice. The half candance voice pitches are groupped depending their importance within the melody as first, RE, there after Sib2 and DO. The powerfull voice pitches in the LA decreed maqams (harmonious) are the DO- RE-Mi-SOL pitches. Inspite the Sib is the defected voice pitch pushed, is reflects more importance than the DO voice pitch. We can extract the result out of this matter. Also the Sib voice pitch has the different power pitch feature in the LA decreed maqams (harmonious). The rating of voice pitches in the melody are. SOL 6.25 %, LA 35.93 %, Sib 17.18 %, DO 16.40 %, RE 23.43 %, Mİ 0.78 %. Depending on this analysis, we may describe the maqam of this melody as `UŞŞAK` `P. S. The maquam UŞŞAK is a kind of maqam for lovers, desperates and believers` In its instrumentation of Si, there are 2 x comma Bemol there in. The performance continuity is ascending and descending. The serial range of this melody is located between SOL-MI voice pitches. This melody is 2 x timing feature and its expressions during reading is especially HU, PEYGAMBER and LA İLAHE İLLALLAH` (Be praised prophet Muhammad and there is no god than ALLAH`) Such importance expression are made at the beginning of words. The importance of this emphasis is reflecting the words of feeling closing the believer to Allah andVII brings him into a overfloud of feeling which enables him to feel the Allah right in his heart. When we analyse the literatural structure of such divines and the number of syllables in the poetry are reflected differently in the first line of poetry. The first line contains a syllables and 8 syllables in the second line of poetry. The 3rd and 4th lines contain 7 syllables and the first 2 sentences of the 2nd line contain 7 syllables and the 3rd and 4th lines are the variables of the first line of poetry. There are some irregular lines of poetry in the Folk poetry, here, the irregularity of the divine is based on the forms of different regions and expressions of people from different accents and locations. The most poetry form and shape in the Blacksea region are mainly based on 1 syllabled ballads form. This effect has became clearly and the web of Rhyme is completely different than the poetry and shows no any conformity to any of literatural class. As to the study of the second divine ; we see that the complete cadance voice pitch is LA. The half cadance pitches are rowed according to their importance as DO- Sib2 and RE voice pitches. The MI and FA pitches are being used for enlarging of the voice pitches and it has enriched the main structure roof of the melody. According to the analysis performed thereon, the maqam of the melody is ŞUR MAKAM (harmonious)- For the equipment of Si, there are 2x comma Bemols. The continuation of melody is ascending and descending the serial range is located between SOL-LA voice pitches. The melody is double timed (synchronized). 5 of main Rhythms are present in the melody. Therefore, the melody shows richness in respect of rhythms. The shape of balance of the melody is arranged with irregular syllables in the poetry and it is as 7 and 8 syllables in the poetry mainly.VIE Sometimes, it reflects more complicated feature with 10 syllables connections. There are 7 and 8 syllables in the poetry sometimes it reflects more complicated feature with 10 syllables connections there of. In the poetry, 3 following line of poetries are appearing as connection after the first 3 lines. Inspite it appears as Lyrics`(türkü`) in respect of shape, the perspective of ballads is occuring mainly. The poetry reflects a regular web of Rhyme however, such type of poetry could not be put into the shape of literature. Upon study of the divine nr. 3 ; the complete cadance voice pitch is also LA. The half cadances are rowed according to their importance as DO-Sib2 and RE pitches. In this melody, DO and RE pitches which are strongones are present in the constant LA maqams of this melody. According to the analyis performed, the maqam of this melody is ŞUR MAKAM (harmonious). In the arrangement of Sİ, there are 2x comma bemols present therein. The continuity is ascending and descending respectively. The serial range is located between SOL-Ml voice pitches. The melody is double timed and shows an extrence richness in respect of rhythms and 4 of 8 main rhythms are used in the melody. However, a coordination is obtained within the teremendous of rhythms. The type and shape of balance of the poetry are varying between 11-12 syllables. There are some of difFertials or missings in the Folk-poetry. It reflects the feature of web of rhyme Lyrics. However it is better to describe it as an irregular Lyrics. As to the divine nr. 4, we see mat the complete cadance pitch is LA and the half cadances are MI-DO-Sib2 respectively (depending on their importance) in this melody, strong voice pitches like RE-MI-DO pitches are present in the constant lg maqams. According to the analysis performed, the maqam of this melody might be UŞŞAK. Its equipment for Sİ is 2x comma bemols therein. Its continuity is in the shape of descending and ascending respectively. The serial range of the melody is locatedIX between LA-SOL voice pitches. This melody has no tempo and is a free shape of melody and it may be described UZUNHAVA (Long waved lyric). The emphasis in the melody can not be felt due to such independency. The type and shape of balance is based on syllable balance when de-da etc syllables are removed and a syllable extraction is obtained. Upon study of the divine nr. 5 ; the complete cadance voice pitch is reflected again as LA and the half candance voice pitches are DO-RE-Mİ depending on the row of importance. These voice picthes are reflected strongly at the same time. According to the analysis performed thereon, the maqam of this melody might be evaluated as KURDİ-MAKAM. There are 5 comma bemols for Sİ in the arrangement. Its continuity is ascending and descending respectively. Its serial range is located between LA-FA voice pitches. The melody is 9 timed and 8s value is choosen for the unit value. Therefore, this melody has been arranged and written with 9/8 tempo. As to the type of balance and shape, the poetry is reflected as an regular shape and turned in to a poetry of on syllable when the syllables described in the paranthesis (1) and (1) syllables are decreased. As a matter of rhyme web of the poetry, it has no similarity to any of literatural shapes available. Upon completion this study of the divine nr. 6 we see that the complete constant voice pitch is appearing as LA again. The half constant pitchs are Sib2, DO, SOL, and RE depending the row of importance thereof. According to the voice pitch rates analysis, the maqam of this melody is ŞUR. For the Sİ in the arrangement, there are 2x comma bemols and 4 comma diases for FA. Its continuity is ascending and descending resfectively. The serial range of the melody is located between FA diase - RE voice pitches. As to the balance type in the poetry, a poetry with 7 syllable can be seen and as a matter of web of rhyme, it is in the shape of lyric/Türkü. Upon study of divine nr. 7, the complete constant voice pitch is seen as LA and the half of cadance pitches are RE- Mİ-DO-Sib2 depending on the row of their importance. Depending on the analysis performed thereon, the maqam of the melody is NEVA maqam. As arrangement,there are 2 comma bemols for Sİ and 4 comma diases for FA. Its continuity is ascending and descending resfectively. The serial range of the melody has the LA- LA octave range and the melody is 2 timed. This poetry is written by 1 1 syllables form. The web of rhyme and balance of syllables are based on Türkü (lyric) completely. Depending on the results of such data, a teremendous of richness has been determined in the divines from Trabzon. Excluding the voices adaptable to constand between the divines, no remarkable similarities have been observed between the divines concerned. The main tempo is the tempo of 2 timed and no single voiced divine was observed. No literatural type of arrangement were used to divines concerned. The web of rhymes are regular in general. There are mainly irregularities in the measures of syllables. These divines have been studied by ALT AN DEMtROK and these divines have been arranged and noted by Mr. ŞENEL ÖNALDI completely.