Kemanede yeni yapım teknikleri

Abstract

ÖZET Çalışmanın ilk bölümünü kemanenin tarihçesi oluşturmaktadır. Konu önce en genel biçimi ile ele alınmış, kademe kademe özele geçilerek, ana meseleye gi rilmeye çalışılmıştır. Kemane yapımı konusundaki en eski tarif, XIV. yüzyılda Ahmedoğlu Şükrullah tarafından yazılmıştır. Bu tarif organoloji çalışmaları bakımından da çok önemli ve tarihi bir belge niteliği taşımaktadır. Bu nedenle Ahmedoğlu Şükrullah'ın ıklığı başlıklı yazısı orjinal şekli ile bölüm sonunda ay nen verilmiştir. Kemane yapımında denenerek iyi sonuçlar alman ağaç türleri ayrı bir bölümde ele alınmıştır. Bu ağaçların, yapım için önemli olan bazı özellikleri kısaca tanıtıl-mıştır. Yeni yapım tekniklerine geçmeden önce geleneksel yapımcılık ve yapan malze-meleri de yine bir bölüm olarak ele alınmıştır. Bu bölümde, geleneksel yapımcılığın neden olduğu bazı hatalar ortaya konmaya çalışılmıştır. Çalgının sanat değerini, görsel yönü, zaman ve dış etkilere karşı mukavemet gücü belirler. Görsel ahenk ve mukavemet gücünü ise bilinçli, kaliteli el işçiliği meydana çıkartır. Bu nedenledir ki, çalgının işitsel yönü kadar, görsel yönü de büyük bir önem arzetmektedir. Bir çalgının, günün ihtiyaçlarına cevap verebilme si büyük ölçü-de bu dengelerin iyi kurulmasına bağlıdır. Görsel ve işitsel bütünlük içinde ideal yapıma ulaşmak, yeni yapım teknikle rini gerektirir. Diğer taraftan çalgının otantik yapısının korunması da bir gerekliliktir. Bu noktadan hareketle halk arasında yaygınlık gösteren iki otantik formda kemane baz alınarak, iki ayrı model oluşturulmuştur. Bu modellerin stan dart yapım-lannı sağlamak amacı ile kendi bünyelerine uygun olarak bir orantı sistemi oluşturulmaya çalışılmıştır. Bu tez dahilinde ve süresinde bir de ses ta blası denemesi yapılmıştır. Denemenin sonuçlan bölüm sonunda verilmiştir.

SUMMARY THE NEW PRODUCTION TECHNIQUES ON THE KEMANE The Kemane has a very important place in Turkish Folk music. Especially that it has a characteristic of lengtheninig sound, gives another worth to this instrument. Like other instruments, the history of studies and research on this instrument is quite new. Written sources in this area are usually interested in the history of the subject. There is no source on production of the Kemane. Our topic `The New Productiin Techniques on the Kemane ` has come out because of that reason. The first part of this work is the history of the Kemane. First it has been given generally and then the main subject has been given step by step. This part has been prepared mainly by means of archaelogical findings and excavations. Firstly the stringead musical instruments have been taken up and then the differences between the stringed instruments have been told. The oldest form of the Kemane that was named `Ikhg` has been searched. The oldest and most detailed definition about production of the Ikhg was written by Ahmedoğlu Şükrullah from Bursa in the name of Isa Çelebi. It is a very important hitorical ocument from the pount of organology works. For thes reason this definition has been given originally at the end of the chapter. Within the systematic of Stringed musical instrument, the contemporary world yet to prove whether the instruments played with bow were originated form the musical instruments played with plectrum or the plectrum-played instruments were in fact originated form the bow instruments. It is an inarguable fact that development of the sound box. Invention of the sound box provided inception of the classical acoustical instruments which survived up to date. The primitive ancient musical instruments assumed miscellaneous names and forms at differing civilisatiins and cultures of the world, developing and transforming for the better in time, they reached to our day. Itseems that the bow and string shall forever remain as the microcosm of inception of stringed musical instruments. Generally speaking experts of opinion of our day opt for the idea that the plectrum-instruments were rudimentary to tha bow instruments. Such view are mostly based on archaeological findings of Mesopotamian and ancient Anatolian civilisations. Other archaelogical findings yielded from Oriental and Asia Minor, may drastically alter such views onto the subject. A multitude of primitive stringed instruments reached to Occident form the midst of orient with various reasons. Revanastron is one of the ancestors of bow instruments. The legend have it on grounds thet RAVANA the King of Ceylon invented such instrument 500 years before Christ,the instrument had acquired such name. Revanastron is still being played in the hands of Indian beggars throughout India. Its sound box is round. The fornt side is covered with either deer or snake skin. It has two strings, both made of animal intestines. It is played with a bow made of bamboo tree to which long animal hair attached to. This instrument spread to other countries, shedding skin and changing form to be called under different names, it reached to Andolosia in the hands of Omayyeds, and thereon, finally arrived at the continental Europe. What was the from of the prototype of Turkish instrument, iyst initial form... that is the question concerning us the most. The Ancient Turkish instruments that played with bow, were called in various names, to give an example is Kopuz. These stringis played with bow could also be played with bare fingers. Nevertheless, there were no substantial difference in form and type in this instrument category. The homeland of the bow instruments are Asia. Asia origin bow instruments contributed greatly to evolving of contemporary bow instruments such as violin or the other bows. The Turkish three-string violin `Kemence` and the Indian folk instrument Sarangi are unique samples to this. Especially the rebap and Kemence used by the Turks vnduring 6th. 7th, and 8th, Centuries, are the most influential progenitors of the violin. Kemence had made ist appearance in the Continental Europe under the nick name of Rebec was of the origin where the contemporary violin is incepted. The tree is the most aristocratic and distiiinguished of all matters given or offered to our benefit for endless usage opportunities by the planet earth. One of which being manufacturing of musical instruments. The artistic and aesthetic values attached onto the instrument are not more than supreme craftsmanship performed on the distinguished wood. Any instruments manufactured by good quality, and good craftsmanship appeals to either visual or spiritual world of mankind. The Wood to be used in manufacturing of musical instrument left for drying under natural environments for four to five years period of time. Heavy and hard woods need longer time for drying.After felling, the tree trunk extracts the excess moisture in its formation in such a lengthy period of time. The tree continues de-moisturising process until a total concentration with the atmospheric moisture is attained. Woods dried by means of baking lose their resistance to a great degree. Thus, baked-dry woods ought not to be chosen for making of musical instruments. Kinds of wood that had tested an taken good results from, have been given in another chapter. Some characteristic of these woods have been introduced shortly. In producion of the Kemane almost thirty kinds of wood can be used. But in this work only ten kinds of them which have given proper results have been told. In this chapter which kind of wood to be used in what part of the kemane has also been given. Befode giving the new production techniques, today's Kemane production has also been given shortly. In thes part that has been titled as `Traditional Kemane Production ` production materials have also been introduced shortly. Any mistaken that were seen in this production way been given in titles. wOwing to the fach thet is is easily found and practicable to apply,only the pumpkin was used as sound box of Kemane until the recent ages. Therefore, name Iklığ gradually was erased from the minds and gourd-Kemane superseded it. The subject matter pumpkin is the bottle gourd. Grown almost anywhere in our conuntry, it an inedible ornamental plant. It firmly established itself in folk-culture of various regions of Turkey in the form of water bowls, decorative articles, etc. After drying, the gourd loses nine tenths of its weight, its internal parts dry and disappear, only ist seeds remain intact. The wider bottow part of gourd resembles to a spherical octagonal. The top part, being thenner and tapering is cut off. The remaining bottom section forms the sound box. Other than gourd the naturally grown coconut was also used to make sound box for Kemane. In comprising Ihe gourd, coconut is tougher and more resistant to the external atmospheric conditions. The used part is the outer hard crust of the coconut. The holed upper part of the coconut I cut in a form that appropriate to provide a sound box, its juice is drainde the edeble inner part is scratched off. The remaining shell is the part to forms the sound box. In manufacturing of the traditional sonund box wood is also used other than coconut or gourd. The wood element is used in two ways. The first method is to cut a whole trunk with lathe to obtain a sound box. Initially the external part of the tree trunk is shaped by lathe machine, after formation of the external shape the inner section is also shaved off. And the second metod is required by slicing the wood. To do it a mould/model is used. Onto the block of lumber (2,5 cm thick) portions of slices are drawn as appropriate to ist curves. Then the slices are cut according to the pattern and glued to each other on the mould piece. The sound box comes out the mould in two pieces and glued to each other to form a single piece. The gourd and coconut are naturally grown fruits. Therefore they are not appropriate material to obtain standard forms.In addition, even increase of moisture in the atmosphere causes discordance in sond of the instrumet. The wooden instruments. IXwhich were manufactured by traditional methods also have some flaws. The matter is examined in detail in the chapter of Traditional Manufacturing Method of Kemane. To achieve to an ideal production in audial and visual intigrity, reguires new production techniques. On the other hand, the instrument is a folk instrument so its authentic structure needs to be protected. For that reason as standard forms have been being made up, the most popular two models have been taken as criterion. These models have been produced by the new production techniques. Their measurements and proportions have been given in titles. The most important point in classical acoustical instruments is making their laouldys. and this is more important than making the instrument itself. Making a perfect mould is at the same time the main condition of making a standart instrument. So, as the new production techniques have been being given, mould making has also been given in details. The sound box of the Kemane is the main point of its sound occurrence and its esthetic appearance. In Kemanes that were made by traditional metods, standardization ami esthetics are impossible. Resistance of gourds in quite weak against any external effects and time. By the new production techniques these problems have been solved. The recent years witnessed substantial reformation in manufacturing methods for Kemane. The most impressive of being is founding methods to manufacture standard instrument. The angled bottom and upper wedges inserted in the sound box and the slices avail the instrument to be more resistant to strain and adverse external effects. The traditional Kemane stocks alsorender defaults to a great degree. The joining point of the box and stock are in general thin and gradually getting thicker towards to the main bridge. This situation create two important fault, the first; section held in hand being thick causes exhaustion in the left hand muscles for lengtny passages. The second is; due tofeqjering of the stock end the first and last stringis of the instrument vibrates in the gap creaked by such thinning. Such situation causes loss of sound. All the determined faults an methods to eliminate these were examined and included in this study. The Kemane has always been a leathered instrument up to now. Leathers used in fcaditional production method, in new production methods and their usage ways have biin Med in this work. In the Kemane, dynamic, bright and bursting sound searching has firmed the sound back. Throughout of this thesis, sound back tests have been applied. Hie results of these tests have also been given. The last title is about varnish. Gomalak is a kind of varnish which sould be used on classical instruments. Kinds of varnish, how to fee prepared and how to be applied have been given under that title. In the last chapter İıere have been sone figures and photographs about the subjects of this thesis. These jliotographs are about the instuments that have been told in this thesis and being used today. XI