Giresun ve Ordu yöresi kol havaları

Abstract

ÖZET `Giresun ve Ordu yöresi Kol Havaları` konulu bu çalışma, İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü'nde, Güzel Sanatlar Anasanat Dalı, Musiki Sanat Dalı, Türk Halk Müziği Alanı'nda Yüksek Lisans Tezi olarak hazırlanmıştır. Kol Havaları ile ilgili daha önce yapılan çalışmalarda, Giresun- ve Ordu yöresine ait Kol Havaları'nın lokal olarak ayrıntılı bir şekilde incelenmemiş olması, okuduğumuz bir çok il yıllıklarında dahi, Kol Havaları bahsine yer verilmemesi, bizi bu konuyu araştırmaya şevketti. Bu çalışmamızda amacımız, Giresun ve Ordu yöresi folkloru içinde önemli bir yer tutan, Kol Havalarını incelemek ve sistemli bir çalışmayla sunmak olmuştur. Birinci bölümü oluşturan Giriş bölümünün ardından, ikinci bölümde Türk Halk Müziği Terminolojisi içinde Kol Havaları ele alınmış, üçüncü bölümde konu hakkında genel bilgiler verilmiş, dördüncü bölümde de ele alınan ezgiler incelenmiştir. İnceleme ve araştırmalarımız neticesinde, ulaştığımız noktalar şunlar olmuştur. Kol Havaları, içkili, kadınlı muhabbetlerin yasak olduğu dönemlerde, kolcular tarafından yapılan baskınlara ithaf edilerek çalınıp söylenen ezgilerdir. Ne sinyal müziği, ne resitaldir. Adını, oyundaki el kol hareketlerinden almadığı gibi, kolcuların oynadığı oyunlar da değildir. Giresun ve Ordu yöresi Kol Havaları, genellikle bir bölümlü olup, çıkıcı-inici seyir karakterine sahiptir. Ezgilerde çoğunlukla Kerem ailesinin, özellikle Düz Kerem'in sıkça kullanıldığı gözlemlenmiştir. Kol Havaları, sözlü ve sözsüz olmasının yanısıra karma ezgiler olarak da karşımıza çıkmaktadır. Sözlü ezgilerin tümünün manilerden oluştuğu görülmüştür. Bu ezgilerin tümünün manilerden oluştuğu görülmüştür. Bu ezgilerin icrasında kullanılan temel saz bağlamadır, buna vurmalı sazlardan - v -zil, darbuka ve tef eşlik edebilmektedir. Kostak bir şekilde icra edilen eserler, oyuncuların insiyatifine bağlı olarak serbestçe oynanır. Ordu'da tamamen dokuz zamanlı olarak karşımıza çıkan Kol Havalarına karşın, Giresun'da, iki ve dört zamanlı ana usulün de, bu tür ezgilerde kullanıldığı tesbit edilmiştir. Daha çok sekizlik, sonra onaltılık nota biriminin kullanıldığı ezgiler, biçim açısından genellikle bir bölümlüdür. Tüm bunların yanısıra bu ezgiler melodi genişlemeleri, varyasyonlar, melodi yürüyüşleri ve atlama sesler yardımıyla monotonluktan uzaklaşıp, sıcak, akılda kalıcı, dinamik eserler halini almıştır. Giresun ve Ordu yöresi Kol Havaları'nın yeterince araştırılmamış olmasının yanısıra, bilgilerin, daha çok sözlü kaynaklardan meydana geldiği saptanmıştır. Bu bilgilerin yazıya dökülmemiş olmasından dolayı, ezgilerin yıprandığı ve kaybolmaya yüz tuttuğu görülmektedir. - v

SUMMARY This thesis about `Giresun and Ordu District Kol Havaları` is prepared as a high master's degree in Turkish Folk Music of the Music Art Department of Fine Arts area, at the Institute of Social Sciences at Istanbul Technical University. There is some research on `Kol Havalan`. But, there is no more detailed study Kol Havalan of Giresun and Ordu and therefore we chose it. These are the points that we have got after our research on this subject. In Ottoman Empire men and women could not enjoy together. It was not allowed to sing, to drink, to chat and to dance together freely. That was forbedden. Besides, this kind of enjoyment was shame for Turkish people. There was not any entertainment like cinemas, theatres pubs, discos etc. People needed to enjoy, even it was forbedden. Who wan ted to enjoy should take some risk as to be catch. In that time Kolcular were taking the security. If, men and women enjoy together with music, dance and drink together as it is forbedden Kolcular who were a kind of Police force working for the Goverment could make a raid on them. Therefore, men and women were having fun the place where Kolcular could not catch or see them, like out of city center, field or some secret place they can find. -vi-The person who was trusted could join them. They should have been the same age. Because, it was not good to drink beside the elder one. This enjoyment was just for men. They were drinking, chating while women dance for them. Dancer women were widow and needed to get money. The party was decided a few days before. Every one was taking the expense of party one by one. At the beginning it was play slow tune of the districk. Then it is passed to Kol Havalan. Kol Havalan are the tune that are played songed, danced at this kind of party. This parties were called different in some port of country. It was called as Muhabbetçilik, in Giresun and Ordu. In Konya it was called Oturak Alemi, in Urfa Sıra Gezmesi, in Ankara Cümbüşfelfele, in Çankırı Sohbet and Yaran etc. In Çankırı this Sohbet's were educational. As these parties were forbidden there were watchman in these parties as they were forbidden. The watchman informed the others about Kolcular either they were coming or not. Then they could take precantions. This happen shows itself in Kol Havaları : - vıı -forte (f) : stress, very strong. Mezzoforte (mf) : stress, not very strong. Piano (p) : stress, very light. Kreshendo ( !>? ) : From strong stress to light stress. Dekreshendo ( <C ) : From light stress to strong stress. When Kolcular comes tune has light stress, rhythm instrument, stops. When Kolcular goes the music gets its lively tune again. But, music never stops. Musicions give command to the people like `Be silent`, `Go on`, `We are raided` To be raided shows itself in lyrics too. `Straight uphill to castle Devriye (x) surrendered us Come to be together Not to give the girl.` `Grapevine, como from grapevine She wears dress from basma (x) Let's go my dear Not before devriye raid on` etc. (x) Devriye : A kind of police force, (x) Basma : It is a kind of cotton. Some musicians say that nine time Kol Havaları don't exist. In their opinion they are not Kol Havalan, they are Karşılama. But we don't accept it. If nine time tune is a condition we should call all the nine time tune as a Karşılama. If it is, we should call Zeybek which is nine time as a Karşılama. But we are not share this idea. In our oppinion, we can distinguish Karşılama and Kol Havaları by their dance and speed of their music. - viii -Kol Havaları are slower then Karşılama. It is played and sung with the style of Kostak. Karşılama can danced by women but Kol Havaları are danced just by men. Karşılama has its own system. Kol Havaları are depend on dancer and they are flexible. In treditional Turkish culture people respect women therefore they don't want to see a women dancing to enjoy men. Arab's an Persion's culture had influenced to Ottoman culture. Belly dancer are seen in Arab's and Persion's culture. Consequence of culturel influence belly dance appear in Turkish culture too. Even Kol Havaları and Muhabbetçilik are not originally belong to Turkish culture during the time they combined with Turkish Folk Culture. In old times, men and women could not chat, sing, drink and enjoy together freely. Kolcular who were a kind of police force working for the Goverment could make a raid on them That is why this music dedicated to Kolcular. Giresun and Ordu District Kol Havaları generally have one division and they go up and down. It is observed that mostly Kerem Family, specially Straight Kerem were used in tune. Some Kol Havaları have lyrics and some have non. Also some of them have mixed tune. The tune with lyrics are existed from mani's. Bağlama is the main instruments for the tune. Also drums and bells can accompany too. -IX-The work of music which is performed very slowly is depend on the players. In Giresun Kol Havaları are two, four and nine time but in Ordu they are just nine time. The shape of tune with eight and sixteen time has usually on divisions. We find Fingil variation as `Kol Havaları` in Giresun. In time it is seen that `Kol Havaları` is played by women too. The music we collect that call `Simitçi Kol Havası` was played in Ordu by women in the party before the wedding. `Kolbastı Havası` which we collect is plays as `Kol Havası` in Ordu, it is also plays as `Karşılama` in Giresun with the name of `Bağlamam Perde Perde`. It is very interesting even they are variation of each other, the musicians of both cities blame each other stealing the music from themselves. In our study there are notes of nine tune. To make it easily understandable we fallowed a plan. During our research we studied on shape of tune, rhythm, melody and structure of lyric. Specially on the work of shape, we used some letter and numbers (like `A` for section, `b` for sentence, `x` for clause) to explained the analysis of shape. On this subject you will find more details on the section of the shape of tune. Beside all of these, the tune's of Kol Havalan with the help of its melody, variation, the way of melody and with jumping sounds are worm, dynamic and unforgetable. Even Giresun and Ordu District Kol Havaları have not been searched enough the knowledge about it comes from verbal resource. Therefore it is observed that the tunes are worn out. -x-