Malatya türkülerinde analiz çalışması

Abstract

ÖZET Bu çalışmamızda Malatya yöresi halk ezgilerinden sadece il merkezine ait değişik karakter arzeden oniki sözlü halk ezgisini tüm yönleriyle incelemeye çalıştık. Birinci bölümde giriş yer almaktadır. İkinci bölümde ise Malatya ilinin tarihçesi ve coğrafî yapısından kısaca bahsedilmiştir. Üçüncü bölümde, ele alman ezgilerde inceleme planından bahsedilmiştir. Bu bölümde ezgilerin notaları, `Edebi, Ritmik, Melodik yapılarının incelenmesi ve Biçim İncelemesi` gibi dört ana başlık altında nazari açıklamaları da yapılarak ayrıntılı bir şekilde incelenmiştir. İncelemeler sonunda ulaştığımız netice şu olmuştur. Malatya ilinin merkezine ait oniki ezgi, melodik ve ritmik yönden zengin olmasının yanısıra nazım türü bakımından da çeşitlilik göstermektedir.

SUMMARY `Folklore` which covers a rather large area, contains traditions, habits and fashion of a nation. Folk music, which has an important place in the science of Folklore, represent differents considerations, If we take our Folk music and its richness into consideration we will soon notice how difficult it is to make a research in music and in all refions of the country and how long it usually takes. Every part of the country has got its own specialities, so it is necessory to examine mem in their original places and only then a better and healthier knowledge can be obtained about the music of that region. While doing mis research, we have tried to analyze only Malatya central distric, as it will make it easier for us. On the other hand, since I was born in Malatya, I happen to have the chance to Know the area closely, Since our folk music is very rich, we cannot say written documentary sourcess have always been confirmed with a serious and more regular research. Though there are a lot of written materials, it cannot be considered that these works are always systematic and academic. This is the reason why we have chosen this subject and why we have been led to make this research. Another reason is, aur wish to give information knowledge. On the music of the reguion by analyzing the works and by using deduction system. While analyzing the regidnal music closely, we believe it is useful to mention the way we think to follow. Firstly, we will study the works considering their lyrics, melody, rhytm and use our own terminology while doing this. Our terminology used in this study will be like this. Chapter : We will mean the chapters in the melody if there are any. Complete (full) music sentence : A whole which consirts of questions and answers. Small music sentence : Expressions which make a whole sentence. According to this, we can say Chapter>sentence>small music sentence VIIn order to express these symbolic expressions, xe have followed a xay like this : Chapter : a, sentence : a,b, small sentence : x,y. The figures written below ewpress the amount of measures; if the ewpressions are the same, we showed them as `smilar sentences` if there are similarities, we used the ewpressions of `similar` or `twins sentences` and symbolized them as, `a` or `b`. While doing these, we hove also done a lot of library research and later examined the whole repertoire with the related authorities of the subject. It is known that Malatya and its surroundings have always been used for settling, its name has been used ever since the old periods and was firstly known as Maldiye and then differently in old civilizations. During young Hitit civilization, the name of the city was known as Milidia. The city was called Miliddu and was situated in old Malatya years later and was named as Melita and mMelitene. It is known mat the city used tobe called as `Asposen` by Persions and `Rakbe-Rakabe` by Greek people. In the Hitit longuage melid means `honey` and Metites means `has become sweet`. Meliddas means sxeet and then in time it has changed to be `Malatya` After the great Emperorship of the Hitit Nation has broken intopieces, the people of teh country have settled down between the river Fırat and Amanca, mountains, they have founded some other notions in different sizes. After the fight of Çaldıran in 1515, the land of Dulkadıroğlu's has changed its owner and Ottomans have owned this property. Yavuz Sultan Selim has appainted Ali Bey to the Dulkadiroğlu Beyliği, on condition to recognize their independence. When Ali Bey died in 1521, his land was also added to Ottoman's property. There was peace and security in Malatya during the Ottoman period. There were some rebellions in the refion during that time. In 1577, in Damascus a man called Damascus Diyade from Turcomen Tribe, rebelled saying that he was the shah Ismail. The other Turcomen in the surrounding joined him and this re bel was stopped with great difficulty. vnWhen Province Maraş was founded, Malatya was only a subdivision. Between 1777-1787, Malatya was dependable to its province Rakka. During this time, the administrative districts of this subdivision were Malatya, Katha, Taşabaa, Şuure maa, Bucak Gerger, Behisni, Maşra, Hısn, Mansur, Samsad and Doscak. Malatya is situate in Eastern Anatolia on the upper part of Fırat besin. It is surrounded by Elazığ on the east, Erzincan on the Northeast sivas on the North, Maraş on the west and Adıyaman on the south. The land belonging to the cities is 12313 squarmetres. m This part of the Province opens to the Mediterrenian with Sultan river and Sürpü stream and to Anatolia with Tohma Valley and to eastern Anadolia with Fırat Valley. This city is just like a bridge in teh mddle of the these three regions. Most of the province is covered with mountains. Toros mountains on the south east cover the southern part of the city, These mountains have changed to large spaes because of erosion in the west and on the north. After doing an extensive study, we have fixed these points : The works have a variety in monner and variation as we meet some works written in two, five, twelve beats as well as four which are written in four beats and three which are written in ten beats. Works ewhibit a colourful variation in düzüm, especially manners which have 10 beats we have noticed that different dûzüms (a collection of different rhythems) have been used together espeially in monners that have teen beats. On the other hand, a work called `Divana` contains seven or eight beats. We have some kind of a literary equation by putting 6 `Koşma` s from the province of Malatya and 6 other works as `mani`. In Koşma's the number of the Syllables are 8, 11, 13 and pouses are 4+4, 3+5, 5+3, 4+4+3, 6+5 and 4+4+5 sometimes we meet them without pouses. Mani's which have 6-7 syllables are seen in 4+3, 3+4 forms and without any pouses. one of the works have a falling character in musical movements. - ANALYSİS PLAN OF THE MELODIES RESEARCHED In this section notes of 12 tunes are present. Each tune subject to this work has been presented under 4 main headers as the conceptional, rhythmic, melodic structure and form analysis. The operation form of this section has been ewplained in details due to the following plan. VIII- NOTATION OF THE TUNES Parts, words and small words of all tunes ewamined have been shown on the notation upon symbolizing with letters. The letter symbols have been explined under the subject of form examination. - ANALYSIS OF THE LITERARY STRUCTURE OF TUNES In this section, the word structures, type of verse and rhyme schemes have been analyzed. The literary structure of the tunes have been examined and their universality preserved. The rhyme inflection in the verses, distribution of the syllables and pause specifications have been examined. - ANALYSIS OF THE RHYTHMIC STRUCTURE OF TUNES All tunes have been analyzed from the viewpoint of their form ranges and number of measures. - ANALYSIS OF MELODÎC STRUCTURE OF TUNES The subject such as kadans, strong, equipage, phonation area and range conceptions have been given in whole through being shown on one portrait. Besides, melody turns, melodic variants, phonation extensions and phonation springs have been indicated in order to inform about me musical structure. - ANALYSIS OF THE TUNES FROM FORMAL POINT OF WIEV The model of the form analysis undertaken for the tunes has got an approach having medium friquency. The melodic, verbal and riiythmic passages in the works have been determined on the base of words, small words and sevction and later symolized taking their specifications as large-small into consideration. Afterwards their cluster results have been obtained. The small sentences detected are characterized with x, y, a, P etc.. questions with a; reply with b and if a different sentence than the questions and replies we indicate with an and b is present, those are symolized with c, d, e etc.. IXSectuons are symbolized with capital letters such as A, B, C etc. The smallest passages having complete meaning in tunes have been approached with small sentences, those that consist at least of 2 or more small sentences were approached with sentences and to the intergrals formed by the sentences have been analyzed with section logic. In this study, we have tried to examine 12 different folk, melodies represanring different characters from the province of Malatya belonging only to the central district in every possible respect. The inroduction takes place in first chapter. And the short history and geographical structure of the province of Malatya are mentioned shortly in the second chapter. The e,amination plan for the melodies is handled in thid chapter and are mentioned. The notes of the melodies in this chapter, are examined in detail, also by making theoric statemants under four major tittles suchas : `An examination of literary work.`, `rhytmic and melodic structures` and `form`. The conclasion takes port in the fourth chapter. After examining all of these, we arrived at a result that 12 melodies belonging to the central district of the province of Malatya were carrying the characteristic fiatures of this region and were rich is melodic and rhytmic respects. X