Türk halk müziğinde dizi problemleri

Abstract

Türk halk müziğinde dizi, makamsal yapı problemleri ve bu problemlerin çözüm yollarını içeren bu çalışma, beş bolümden oluşmaktadır. Birinci bölümde (giriş), konunun seçilme nedeni, ya pılan çalışmanın amacı, kullanılan yöntemler; ikinci bölümde, halk müziğinin tanımı, yapılan der lemeler ve eğitim açısından tarihçesi ; üçüncü bölümde, Türk halk müziği'ndeki makama al yapı problemleri ; Dördüncü bölümde, T.H.M. ila Türk sanat müziğinin makamsal yapı açısından karşılaştırılması ve halk müziği dizilerinin sanat müziğindeki karşılıkları: Beşinci bolümde, T.H.M. T.R.T. repertuarının 0 ile 2100 nolu notaları üzerinde, kullanılan perdeler bazında ki inceleme sonuçları; Sonuçlar ve öneriler bölümünde, konunun küçük bir özeti ile çözüm önerileri; Ekler bölümünde ise, anlatılan konu ve makamlara ör nek teşkil eden notalar verilmiştir.

Generally speaking, the Folk Music consists of vocal and nonvocal creations resulted from all aspects of the very lifes of the societies, and articulating the sentiments and tastes of the societies, and reflecting the culture of the society to which they belong. The most important characteristic of folk music is that it is anonymous. We can describe Turkish Folk Music as follows; Turkish Folk Music is the music which is free with respect to compliance with the rules, and is anonymous, and maintains depth in time and expansi veness in space, and has local language and musical characteristics, and is transmitted orally from master to apprentice. The first article which articulated the Turkish Folk Music creations, and of the importance of the compilation thereof was written by Rauf Yekta with the title `An Important Venture Regarding the Eastern Music` which was published in the journal called `Şehbal` in 1991. Later some other intellectuals such as Rxza Tevfik, Mehmet Fuat, Musa süreyya, Necip Asım and Yusuf Ziya continued to write about the culture and folk songs. The first compilation studies for folk songs got a start in 1926 by the efforts of Darül Elhan (The House of Tunes), and later Ankara State Conservatory, TurkishRadio and Television Administration (TRT), some official and private institutions and persons continued such compilation works up to the present. Muzaffer Sarısözen has participated in all compilation trips made by Ankara State Conservatory, and has established the `Voices From The Country` teams in Ankara, Istanbul and izmir. He has also made the notation of about 2100 songs. Muzaffer Sarısözen ia the most important personality of Turkish folk music with his with reference works which are still in use. The compiled tunes have been expressed in mode and tempo terms as is the case with Turkish Art Music 'For example, Safiyar Gülizar Folk Song). Muzaffer Sarısözen published a book in 1962 under the title `Folk Music Tempos` which included the numerical expression on the modification signs (Such as Si13 - Fa#3). These signs are still in use.. Today there are some problems with respect to the modal structure of Turkish Folk Music. Many people are debating the question `is it true to divide the folk music tunes into patterns and to name them accordingly?`. In Turkey, especially the singers and instrumental iste generally prefer to name the melodic patterns as ayak or dizi. These ayaks or dizis are named VIIafter the minstrel (like Kerern and Garip), and after the literary forms (like Müetezad, Kalenderi), and after some regional laments (like Bozlak, Maya), and after some famous tunes (like misket). However, since no standard is in question with respect to such naming, the same dizi patterns arm being called with different names by Turkish Folk Music groups, in particular. Consequently, there emerged a big mess of terms. So, is it necessary to divide the melodic patterns of Turkish Folk Music tunes into dizis and to name them accordingly? The answer is clear and certain: yes, it is necessary. Such necessity is obvious in the Turkish Music Conservatories where Folk Music education is provided, as well as all Turkish Folk Music groups, the most of important of which is TRT's radios. Turkish Music Conservatories have different approaches in this respect. They clash with other- schools as well. In parallel to this situation, there is a chaos in the educational field. While a teacher calls something `ayak`, another teacher might call it `dizi`, and a dizi given by a teacher might be called with another name by another teacher. And as for the radios of Turkish Radio and Television Administration (TRT); there is a heavy traffic of recording and live performances in these VIIIradios, but they suffer a big chaos since no common musical language was established by now. For example, assume that solist is requested by the Conductor to prepare a Kerem lament; if he/she knows same about the Kerem as the Conductor, there is no problem. But if not? The same melodic patterns are given different names in all Folk Music groups, anyway. It is very strange that sometimes, when any discord is involved, the names of modes are used in order to get a concord. Furhermore, since no indexes drawn up according to the modal patterns are available, some serious difficulties are suffered in the radios while preparing the band details. This is a very important weakness which needs to be removed. Let us look at the popular usage now: It is said that the tunes sung with the lyrics of Aşık (Minstrel) Kerem and Aşık Garip were used to be called `Kerem Havası`, `Garip Havası` among the common people, and that later such names have become the dizi and ayak names to all tunes which are in the same melodic pattern. Actually the term `ayak` has various meanings among the common people. For example, the minstrel lyrical contests; the word or group of words to start the contest, and the tune pattern rhythmed pattern tunes placed in the intros and fills of the laments (for example, instrumental passage), and the connection or all of a folk song are all used as `ayak` among the IXcommon people. The use of `ayak` in place of made is almost always overlooked, and generally the pattern of a single tune is called `ayak`. The existince of about 100 names given to the tunes justifies this assumption (Nuri Keremi, Dik Keremi, Keremi, Kerem Atüstü, Guba Keremi, Yahyalı Keremi, Yöğrük Keremi, Döğme Keremi, Kerem Göçtü, Antep Keremi etc.). A fact needs to be seen well in order that this problem might be salved. Turkish Folk Music is based on the modes. The correctness of this assumption may be proven with the fact that the same comma note system is being used in both two musical forms. In our opinion, it is wrong to give the Folk Music tunes the same names, in terms of dizi names, as the common people do in their own regions, and that's the reason for the big mess which is being suffered today. Such wrong use of the common people who lack of musical knowledge seems, in one sense, to be a nickname for the modal pattern. Despite the fact that the Turkish Folk Music's note syBtem is based on mode, there are many examples which are not in compliance with the modal structures exactly. In addition to many tunes having a note width of 3-note, 4-note and 5-note, there are some tunes (not much in number) which involve little pauses and are impossible to place into any modal pattern in terms of progression. The reason for this is the lack of adequate musicalknowledge on the part of our people. However, there are many tunes which are suitable enough to set a precedent to the modes of Turkish Art Music. Such suitability is more in the city centres and decreases as going away from the city centres. A scientific study conducted by Yalçın Tura on Bağlama (a kind of saz) proved that a 8-note series in Turkish Folk Music is divided into 17 spacings, as is the case with Turkish Art Music, and that there are 18 frets with the repetition of the first note. The form of use of a dizi consisting of certain frets is called mode. In Turkish music, this use is in the form of starting in certain points or fields, travelling in certain fields and certain directions. pausing in certain frets using flavours, and deciding upon, in its own character, a certain frets again. In this sense, it is seen that Turkish Folk Music has big similarities with Turkish Art Music. In our opinion, the thing that must be done is as follows: The repertoire of Turkish Folk Music must be inspected, and be classified by taking into consideration the frets and progression used. The clasified tunes must be grouped under the names of Turkish Art Music modes, and indexes of this kind must be made. Such a work must be done by a committee XIconsisting of investigators who are expert an the fields of modes, folklore science, musical science and performance as well as the modal science and performance of Turkish Art Music. We believe that as the result of such a classification the mess suffered by both in the educational institutions and Turkish Folk Music groups will come to an end. XII