Türk halk oyunları müziklerinin ritmik analizi
Başlık çevirisi mevcut değil.
- Tez No: 43811
- Danışmanlar: DOÇ. FİKRET DEĞERLİ
- Tez Türü: Sanatta Yeterlik
- Konular: Güzel Sanatlar, Müzik, Fine Arts, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1995
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 61
Özet
ÖZET Türk folklorunun en önemli bölümlerinden birini oluşturan halk oyunları, müzikten ayrı düşünülemeyecek bir kavramdır. Halk oyunlarında müzikal yapıyı oluşturan en önemli etken ise ritmdir. Tezin konusunu oluşturan Türk halk oyunları müziklerinin ritmik analizi çerçevesinde Halay, Bar, Karşılama, Zeybek, Horon ve Kaşık oyunları olmak üzere toplam altı tür ele alınmıştır. Bu kapsamda incelenen 58 ezginin, yöresel kayıtlardan ritm notaları yazılmış ve matematiksel olarak ritmik oranlamaları çıkartılmıştır. Özellikle konu, enstrümantal icra değil de oyuna eşlik olduğunda, ritmik yapı ile hareket serileri paralellik göstermektedir. Aynı usule ait olsalar bile, farklı türlerdeki ezgiler, gerek ritmik yapıyı oluşturan unsurlar (düzüm, vurgu, tempo), gerekse figür karakteristikleri açısından değişik şekillerde belirmektedirler. Farklı şekillerde seçilmiş örneklerin düzümlerinin yapılıp oranlarının çıkarılması, oyun ezgilerinin ritmik açıdan mukayese edilmesini sağlamıştır. Bu sayede ise müzik ve oyunun kendi içlerindeki ritmik yapısının türler arasındaki ayırımları belirlenmiştir. Bütün bu aşamalardan sonra, halk oyunlarının karakteristik form özelliklerinin belirlenmesinde, en asli unsurun ritm olduğu saptamıştır.
Özet (Çeviri)
SUMMARY Turkish nation has established a rich cultural formation due various geographic it has lived in as result of cultural exchanges and effects of other societies throughout the history. Turkish Folklore has a private status among the traditional structure of our culture. Turkish Folk dances which are in the contents of Turkish Folklore, are in an exceptional place because of their richness in movements, musical variety, clothing style and coloured appearance. Rhythm has a very important place in the musical content of Turkish Folk dances. In our thesis, we have tried to give you a general information on the“ Rhythmic Analysis of the Music of Turkish Folk Dances ”, then we have tried to make deductions of different styles and their otantic performances by analysing and writing their düzüms. (Düzüm : ranking of the different rhythms beater) Rhythm is a concept as old as the history of humanity. Firstly, it was formed according to the period arid physical conditions“ the man ”had lived. The sounds performed by the first man to imitate the animals in nature, clapping hands, stamping feet on the ground or hitting two pieces of stones each other are the first trials on this subject. Some of these sounds symbolise joy, excitement, or the fight to exist in the direction of protection. Concept of rhythm has also developed throughout the history and has taken its last formation it looks to day. Rhythmic organisation is in the nature off all the activities of mankind. It is possible to see examples of rhythm in nearly every kind of action in daily life. VIRhythm forms the material energy, brings it into existence, and expresses it. Rhythm which is the common point of musicians, sportsmen, dancers, carpenters can be evaluated in different styles according to the deed which has been done. Rhythm concept is a general formation which contains beatings, measure, time, manner, accent, nuance. These are some factors which effect the rhythmic concept. These factors are the accents of severity, accent of continuation, differences of intervals and differences of frequency. These factors effect and form the rhythmic concept. Beating of times in Turkish Folk music are collected under the title of; Fundamental beatings, complex beatings and mixed beatings. Fundamental Rhythms have two, three, or four beatings or the other variations that have three beats. Complex beats are formed with collection of the fundamental beatings and can be grouped in five kinds as five, six, seven, eight and nine beats. Mixed beats are formed with complex beats or with the formation of fundamental beats and complex beats. -Complex beats which have less density comparison with fundamental and complex beats are grouped in ten, eleven, twelve, fifteen, sixteen, eighteen, twenty and twenty-one and have eight kinds totally. Some of the tunes written in these beats are called with some private names which they belong to. Dance tunes have a rather large repertoire in Turkish Folk music and they are performed in two groups as instrumental performance and accompaniment. The examples which have been collected in our thesis have all been taken from dance accompaniment music and are all otantic. We have come to a result by analysing some sample tunes which have all been VIItaken from Halay, Bar, Karşılama, Horon, Zeybek, Kaşık Oyunları and mixed dance forms. Performance by playing an instrument have some freedom although accompaniment these are parallel with the rhythmic structure of the dance and the emphasised movements of the dance. Every dance and its musical structure has got its own rhythm in a private form. The success in the performance depends on the synchronisation between the dance and the rhythm. Rhythmic values of dances belonging to different regions shape according to the characteristic primacies of dances. An action which has to be done with a energetic angle or more dynamically reflects to the rhythm of the dance in the same manner or this reflection is expressed as accent in any kind of dance form. Turkish Folk dances which have more complex figures are performed with numerous düzüms. (Ranking of different rhythms beats) On the contrary, dances with simpler figures should be estimated with simpler beats another difference in performance is the accompaniment as well as rhythm differences. Timing in dance is directly proportioned according to the beating. Musical performance and the performance of folk dances should be in an harmony with the beat of the dance. These two concepts are related with each other even if they are free in themselves another factor which effects the performance of folk dances is the pitch differences among the rhythm in instruments. The most common percussion instrument which is used for accompaniment is“ the drum ”. Among percussion instruments the drum occupies an important place in traditional Turkish culture. VlllTurkish people have adopted the instruments“ drum ”as their own as an insuperable part of their lives and used it since they beginning of their existence. Drums are usually played in the open and their structures are more or less the same though their materials, sizes are different. Drums are made by stretching skin tightly on the both sides of a large drum of capola and in played with the help of a mallet or a stick. We call the sound which is produced by the mallet as“ Düm ”and the sound which is produced by stick, as“ Tek ”and the sound when they are beaten at the same time as“ Yek ”Another point which is noticed in the content of this study are distinctive specialities of these regional percussion instruments in pitch for example folk dances which are done in the open air accompanied by the instrument“ drum ”which has a very loud sound capacity are usually dances which need high condition and capacity also action accents. Tef (tambourine) has a lower sound capacity and is used in covered places as an accompaniments in just on the contrary. In women's dances which are danced accompanied by Tef we don't meet many large angles or movements which need high energy. In the dances rhythm synchronisation. We have tried to give the proportions of the“ Düm”,“ Tek ”,“ Yek ”and“ Es ”sounds mathematically and their rhythmic proportions enabled us to make their places distinctive in dances and musical structures. The beats which form düzüms are important to compromise folk dances and the regional differences of the musical structure. Düzüms which form measures are completely shaped according to characteristic features of a region its music and dances. Just like the relation between folk dances and the element rhythm, the rhythmic structure reflects the characteristics of the music. A melody which is played in different region can have differences because of its rhythmic formation. IXAn active structure which forms any folk dance can be analysed better with its usages and the number of the elements like“ Düm ”or“ Tek ”and their usage ways in düzüms. While analysis were being made in parallel with the rhythm it was understood that the beat was not conspicuous privacy. Among the dances belonging to or region there can be dances in fast rhythm or slow rhythm. This doesn't form a characteristic privacy. What is made conspicuous is the reflection of the structure to dances. Another concept which is considered equally to the beat is“Mertebe”, differences between mertebes in Turkish folk dances do not make beating differences in the rhythm in distinct. One can play a tune written in to different mertebes and in the same beat. The most important way to mallet it known is to measure it with a metronome. Another privacy which shouldn't be missed is the understanding of the beat in a different styles. In dance music related with Turkish folk music, there aren't standard measure as there are in Turkish art music. There are regional düzüms in dance music though they are the characteristics of the dance and are directly proportioned with the talents of the instrumentalist.
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