Türk musikisinde keman eğitimi için bir metod arştırması

Abstract

ÖZET Türk Müziğinde eğitim bütünüyle `Meşk` adı verilen bir öğrenim yöntemine dayanırdı, öğrencilerin, ses ve saz eğitimi ve bir eser dağarcığı edinmeleri hep meşk etmekle gerçekleşirdi, öğrenci, bir çalgıyı öğrenmeye eğer varsa hocasının seçtiği bir saz eserini meşk etmekle başlardı. Bu eserlerin çalgı eğitimine başlamak amacıyla seçilmeleri, onların zorluk, kolaylık dereceleri ile kesinlikle ilgili değildi. Bu eserlerin, sadece tanınan, bilinen, sıkça icra edilen ve sevilen eserler olmasına gayret gösterilirdi. Çalgı eğitiminde tekniğin gelişmesinden ziyade repertuarın zenginleşmesine önem verilmekteydi. Çalgı öğretim yöntemlerinde çok yakın zamana kadar öğrencileri bilinçli ve teknik beceriye yöneltecek uygulamalarla karşılaşamıyoruz. Müziğimizde, çalgıdan çok sese önem verilmiş olması eğitimin tamamen meşk'e dayanması çağdaş bir eğitim için zorunlu olan metodik çalışmayı ikinci plâna itmiştir. Ortaçağın Frenk Kemençe'si ve Viyol'inden çıkan, daha sonraları da Viol ve Lira Da Baraccio haline gelen keman bugünkü biçimini yavaş yavaş gelişerek buldu. İlk kemanların XVI. yüzyılda Brescia ve Paris'te aynı yıllarda yapıldığı sanılmaktadır. Andrea Amati, Stradivaius gibi yapımcıların yetiştiği Cremona Okulu'nda keman yapımının zirveye ulaştığı bilinir. Keman öğrenilmesi en güç çalgılardan biridir. Bu çalgıya başlama işi 6-8 yaş arasıdır. Kemanın notası ikinci çizgideki Sol anahtarı ile yazılır. Keman telleri; inceden kalına doğru Mi, La, Re, Sol olarak isimlendirilir. Kemanın teknik olanakları son derece geniştir. Bu teknik olanaktan şöyle sıralayabiliriz; diatonik, kromatik, gamlar, arpejler, flajöleler ve sağ elle elde edilen tüm renkler ve etkiler, îşte bu son derece geniş olanaklarla keman, müzik evreninde çok önemli ve kendisinden vazgeçilmez bir çalgı olarak yerini almıştır. Türk müziğinde de keman bütün dünyada olduğu gibi önemli bir yer tutmaktadır. Kemanın sine-keman dan hemen sonra Türk müziğinde kullanıldığı bilinmektedir. Türk müziğinde keman eğitimine, geniş kapsamlı bir keman metodu bulunmadığından, Bati müziği keman metotları ile başlanmaktadır. Bunun bazı mahsurları vardır. Bunlar içinde en önemlisi öğrencilerin tampere seslere tam olarak basamamalan ve Türk Müziği üslûbundan uzaklaşmaları şeklinde karşımıza çıkmaktadır. Araştırdığımızda Türk müziğinde keman eğitimi için bazı metotların yazıldığını görürüz. Kanımızca, bu metotlar akademik bir çalışma için yeterli değillerdir. Türk müziğinde metot sıkıntısı ve eğitimin düzensiz olması nedeniyle icrada bazı problemler ortaya çıkmaktadır. Bu problemleri ise şöyle sıralayabiliriz; Tutuş problemi, akort problemi, yay bağlan problemi, transpoze problemi, tavır problemi. Bu çalışmada, Bat Müziği keman eğitiminde sıkça kullanılan bazı metotların açıklanmasına da yer verilerek, belirlenmeye çalışılan yöntemlerin, Türk Müziğinde keman eğitimi için yazılacak bir metotta kullanılabilmesi araştırılmıştır. vii

SUMMARY in our study, concerning the subject the instruction and the importance of Violin in Turkish Music whe have dealed with matters that havent been followed up wiht interest untül to day Since the very beginning, Turkish music has been leaned on human voice and there has been a general belief that human voice has ahvays been the best music instrument and has been considered like this in the whole world.Violin is considered as `the queen` of ali the instnıments among other stringed instmments and has taken its place in the world of music as a unique öne which cannot be abondened. The must important role of instrument has ahvays been the accomponiment of the solist, which is the human vorce, throughout the history. Just like this, in Turkish music as well, this education used to be based on an education and learning system called `Meşk`. Voice training and singing training and repertoire studies of students used to be acquired with this system. in general, it is believed that doing `meşk` with instruments is a much harder and longer duration which needs real paü'ence. While doing instrument training, we didn't use to meet technique and conscious methods which can be named as intelligent methods that can lead the learners to adopt better skills. Since more importance is given to human voice, a contemporary work which doesnot differenciate voice training ör instrument training has compulsorily been pushed into second plan. Violin, which used to be knovra as `Frenk Kemence` and `Viyol` turned out to be viyel and `Lira Da Braccio` and has taken today`s appearence. it is believed that the first Violins were made in the 15 th century in Brescian and Paris at parallel times and in the same century. it is also knovvn that violin manufacturing has reached to a peak in ceromona school. Violin is considered as öne of the most difficult instruments to be trained in because it needs long years of training an a great discipline. The beginning age of this training is betvveen 6-8. Violin notations are written on the second üne of the staff with a treble clef. Strings are named from high-hitch to low-pitch as mi-string, la-string, -re-string, sol-string. Violin strings are arranged according to five intervals. viü_fi-*13 jfo*l.lel Mi^ ^' - ~~*~~2.1e! La `*`.,..3.1d Re 4. tel Sol Technical possibilities of the instnıment ` Violin` are very wide. These technical fascilities can be ranked as diatonic and chromatic scales, arpeggios, flaggerio, ali the colours wbich can be obtained with the use of the right hand and its effects (colegno, jete). Violin has göt an important place in Turkish music, as it is in ali parts of the world. it is known that, in Turkish music, violin has been used after sine-violin, which is played by pressing the chest. Violin tuning is done differentiy in Turkish music than usual Violin tuning used in classic training. The most important difference is the arrangement of the thinnest strings according to fourth interval instead of the fifth. The seven stings of the Sine Violin ( Viola d'amour ), whic brings the tüne - Re Majör, is tuned to sharp, Re,Fa sharp,La,Re, and,La, Re notes. when passed from Sine Violin to Violin, lowel two stings has been tuned to La and,Re,so it is used to being tuned the high pitched string as -Re As the Violin players in Turkish Music could prefer this kind of tunee to imitate Rebab and Ud (in the point of tüne), as I explained above, it could be a habit that comes from Sine-Violin. in my opinion, it is an iportant aspect to be resarched separately. in Turkey Performing the Violin in (the orchestra ) was first Classical Music played in 1840 in Müzika-i Hümayun, from that time, Turkish women and men Violin players started to involve in the chamber orcestra We see the Violin training in Turkish Music according to the method style in Zafiraki's (18477-1910?) method called ` Keman Muallimi` Then we see,in (1923), Adülkadir Töre's ` Usul-i TaHm-i Keman` and in (1924), Mustafa's (Sunar)` Alaturka Keman Muallimi` and Mildan Niyazi's methode Violin training is done according to classical music training as there arenot any methods for violin-training in Turkish music and according to its sound system though there are some inconveniences ixThe most important inconvenience which should be mentioned here, is the difficulty of the learners while obtaining Turkish intonation after getting used to hearing the `tampere system` which is based on the equality of sounds in classical music. None of the previous methods can be considered sufficient for an academic- training. The present methodology problems which occur in Turkish music, are irregular and can create other problems during performance. These problems are tuning problems, problems in using the bow, and manner problems. We need to make explanations here again on some of these classic problems. MANNER PROBLEM Performers show their music capacity and techniques by using manners. While doing ensemble playing performers, and should leave special manners in common while performing their music. The word `manner` contains all the interpretation and nuances which are done by performers. This problem should be studied as quickly as possible. TUNNING PROBLEM: Tunning of the violin has been used in different style in Turkish music`La` vibration is supplied from the tuning instrument which give `La` Vibrations but this sound supposed to be `Re`. The musical arrangement which accepts the `La` sound as it is, is called `Mansur düzen`. r «til 3t.£. _. rftaŞE The main tuning system in Turkish music is called `Bolahenk`. In a violin tuning which is done according to Bolahenk arrangement, the strings are lined from hing-pitched to low pitched and called as Muhayyer, Neva, Rast, and Kaba Çargâh. Muhayyer (La), Neva (Re), Rast, (Sol)and Kaba Çargâh(Do). x.*£2 Kabaçargah RastNeva Muhayyer PROBLEMS OF BOW-TIES: The usage of different tuning systems in Turkish music and the their transpositions applications created a problem of ties because these cannot be made in a standard way, ıf tuning and transposition problems arenot solved in Turkish muşic, these problems cannot be solved either. We notice that bow-ties are not written in a standart way because of different usages of tunes and transpositions. Anyway we can bning a solution to this problem by using some rules upto a point -Starting a music piece by pusbing the bow dawn except some compulsory situations. This is called `auftak` -Finishing the music lines by pushing the bow up (except forthe long sounds which connect the two measures which are played with öne bow movement). -Divinidg the measure in to öne, two, three ör four bowwmovements. According to its rhythm and beating. -Divisions in the measures should be parallel with thi rhythm, timing and beating. (except for the lengt^ening of the beatings of the tied notations) -Not dividing the words into syllables unless they are really recessary in vocal works. -Not diving a notation nomatter how long it is. -Finishing chapters ör pieces of music by pulling the bow. -Not using unpressed strihgs unless it is really recessary. POSITION PROBLEM: Technique skill which are the necessities of violin playing have great importance in acquiring and developing your performance. xiWhen we consider the problems which occur from wrong, destroyed position we will soon perceire that they will cause esthetic problems as well. Noawadays, Turkish Music is no longer made ( Played) by few instruments,the musical groups contain over fifteen-twenty people and musical instrument are mostly more than one and the necessity of more than one violin is essential because of the right tune and volume. Sometimes because of traditional costums the musicians tend to play out side written notes, and thirs causes great problems in group work. It is necessary for the new student to be able to play differauty according to traditional customs in solo programs or in small groups but to be able to keep to the orchestral discipline and play exactly as it is written on the note - paper. ( Including the ties of bows ) One must be very carefull over this point while teaching. It is obviously that we are in great difficulty in finding proper method books for teaching Turkish Music. Todays Turkish Music player has to learn all the technics of his instrument m western style and also not to lose our own traditional sounds and ways. While playing, he must beable to transpose play solo Taksim of his own We have investigated in this project what type of ways to follow when we prepare a method. The following iyems are the ones we have greatly cared for while investigating teaching methods -Bow technics -Left hand technics -Violin tunes of Western music -Characteristies of Turkish Music fret and tune -Playing styles and specific Turkish Ornaments -Improvisations of solo music While doing this reseach, we have tried to talk about some of the methods which are often used in classical music violing training and their explanations while conserding the usage of these systems in Turkih music violin training. This has been our aim throughout the way. XII