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Türkiye ve yakın coğrafyalarda ud icrasındaki süslemeler ve yorum unsurları: Günümüz icracıları üzerinden genel bir değerlendirme

Oud decorations and interpretation elements in Turkey and nearby geographies: A general evaluation on contemporary oud performers

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  1. Tez No: 796509
  2. Yazar: GÜLNUR GİZEM SUCU
  3. Danışmanlar: PROF. AYŞEGÜL KOSTAK TOKSOY
  4. Tez Türü: Yüksek Lisans
  5. Konular: Müzik, Music
  6. Anahtar Kelimeler: Oud, Ornaments, Performance Techniques, Transcription
  7. Yıl: 2023
  8. Dil: Türkçe
  9. Üniversite: İstanbul Teknik Üniversitesi
  10. Enstitü: Lisansüstü Eğitim Enstitüsü
  11. Ana Bilim Dalı: Performans Ana Sanat Dalı
  12. Bilim Dalı: Çalgı-Ses Bilim Dalı
  13. Sayfa Sayısı: 267

Özet

Bu çalışmada, Türkiye'den ve yakın coğrafyalardan seçilmiş toplamda on ud icracısının, Mesut Cemil'in Nihavend Saz Semaisi'ni çaldıkları video kayıtları üzerinden transkripsiyon ve analiz çalışması yapılarak, çalış stilleri ve farklı teknik yaklaşımları hakkında benzerlik ve farklılıkların karşılaştırmalı olarak ortaya konması amaçlanmıştır. Türkiye'de çeşitli kurumlarda eğitimci ve icracı olarak çalışmalarını yürüten bu kişiler; Bayram Coşkuner, Mete Aslan, Mithat Çömlekçi, Osman Kırklıkçı, Yurdal Tokcan'dır. Yakın coğrafyalardan seçilmiş olan ud icracıları ise; İtalya'dan, Peppe Frana, Yunanistan'dan Kyriakos Kalaitzdis, Mısır'dan, Mohamed Abozekry, Suriye'den Osama Badawe, Tunus'tan Bechir Gharbi'dir. Bu çalışmanın, birinci bölümü Orta Asya kökenli olduğu düşünülen udun, tarihsel süreci, kelime kökeni, gelişmesi ve farklı coğrafyalardaki konumu hakkında bilgi vermektedir. İkinci bölüm, icracıların kendilerine yönlendirilen sorulara verdikleri cevaplar doğrultusunda oluşturulmuş bir biyografi çalışmasıdır. Üçüncü bölüm, yorum kavramı ve çalışmadaki yorum anlayışı hakkında bilgi vermektedir. Devamında transkripsiyon analizi ve değerlendirme tablosu içerisinde kullanılan teknik ve süslemeler hakkında bilgi ve örnekli açıklamalara yer verilmiştir. Analizde karşılaşılan teknik ve süslemeler için iki farklı başlık ve tablo oluşturulmuştur. Süslemeler başlığı altında çarpma, çift çarpma-mordan, grubetto, motifleme, ritmik çeşitlilik, uzun ses ve es doldurma, çiftleme, tremolo, tril, vibrato, glissando, oktavlı çalış, kromatik, çift ses, pedal ses, akor, arpej, flajöle incelenmiştir. Diğer nüans, hız gibi değişimler, notasyona bağlı yorum unsurları başlığı altında stakato, aksan, accelerando, ritardando, puandorg, serbest çalım, oktavdan çalma şeklinde belirlenmiştir. Dördüncü bölümde, nota transkripsyonları, orijinal nota ile birlikte ele alınmış, bu doğrultuda 1, 2, 3, 4. haneler ve 1. ve 4. hane teslimleri analiz ve değerlendirme tablosu yardımı ile icracılar arasındaki yorum benzerlikleri ve farklılıkları tespit edilmiştir. Her bir icracının nota transkripsiyonu tezin 'Ek' bölümünde mevcut olmakla birlikte, icra videolarına ise notaların üzerindeki 'QR' kod okutularak ulaşılabilmektedir. Nicel ve nitel araştırma yöntemlerinden faydalanılarak ortaya çıkan veriler doğrultusunda, icracıların müzikal yorumları, stil farklılıkları ve ortak icra anlayışları birlikte listelenmiş ve analiz edilmiştir. Bu çalışmanın, ud icra anlayışının şekillenmesinde ve başka icracılar için bir araştırma kaynağı olabilmesine katkı sağlaması hedeflenmiştir. İcracıların çalış stilleri üzerinden yola çıkılarak burada kullanılan teknik ve süslemelerin ud eğitiminde kullanılması sağlanabilir. Anahtar Kelime: Ud, Süsleme, İcra Teknikleri, Transkripsiyon.

Özet (Çeviri)

The principal aim of this study is to present in a comparative way the similarities and differences regarding the variety of musical performance styles and oud players' different technical approaches by analyzing and interpreting the musical transcriptions through the video recordings of Turkish composer Mesut Cemil's musical composition“Nihavend Saz Semai,”which is performed by ten oud players, some of whom are from Turkey and the wider Eastern Mediterranean and some of whom come from nearby geographies of Turkey. For the implementation of the study, among the selected οud players who also work as educators and musicians in various institutions in Turkey, are the following: Bayram Coşkuner from Ankara, Mete Aslan from İzmir, Mithat Çömlekçi from Konya, Osman Kırklıkçi also from Konya, Yurdal Tokcan from Ordu. Oud players selected from Turkey's nearby geographies are Peppe Frana from Italy, Kyriakos Kalaitzdis from Greece, Mohamed Abozekry from Egypt, Osama Badawe from Syria and Bechir Gharbi from Tunisia. In the first chapter of the study, a historical approach is carried out regarding the origin, etymology, construction, and dissemination of the oud in various nations as well as its characteristics. In particular, the historical elements observed are based on literature and historical sources and aim to provide information regarding the origin of the instrument, its external characteristics, the tuning system and the way in which the oud instrument was spread in countries both in the Eastern Mediterranean and in Europe. The first part therefore aims at a chronological outline of the course, oud's dissemination process throughout the aforementioned geography over the centuries. In the first chapter, therefore, a gradual chronological transition from the past to the modern era takes place, and information is also provided about the contemporary oud players. Some of the oud players mentioned are Ûdî Âfet Efendi, Ûdî Şevki Bey, Ûdî Mısırlı İbrâhim Efendi, Ûdî Selânikli Ahmet Efendi, Şerif İçli, Yorgo Bacanos, Ûdî Hırant and Kadri Şençalar. Finally, it is concluded that oud played in our era throughout Turkey has almost no structural difference from the oud played in other Islamic countries. The collection and citation of biographical data is the result of interviews with oud players. Through the interviews and during the collection of qualitative data I tried to clarify mainly the reasons that pushed each performer to start his oud journey. I tried to focus on each performer's experiences from childhood. Reference is made according to the subsequent studies in music, concerts, and the musical events and festivals in which each performer participated. At this point it should be noted that the oud performers' names are placed in alphabetical order. The list of biographies begins with the performer Bayram Coşkuner. Then follows the biography of the oud player, composer and educator Bechir Gharbi. Then there are references to the biographies of other performers such as that of Enver Mete Aslan, oud performer and musician Kyriakos Kalaitzidis, Mithat Çömlekçi, oud player, composer and arranger Mohamed Abozekry, oud performer and musician Osama Badawe, oud performer and musician Osman Kırklıkçı, oud performer and musician Peppe Frana and oud performer and musician Yurdal Tokkan. Chapter 3 primarily contributes to the understanding of the concept of“interpretation”as well as to the understanding of interpretation in the study. As noted at the beginning of the third part of the study, interpretation is the totality of an artist's experiences, cultural environment, musical experiences and education. For the implementation of the study, it was deemed necessary to evaluate the techniques and decorations used by the performers in order to understand the similarities and differences between them in terms of interpretation through each oud player's individual performance. Moreover, there is also information provided according to the techniques and musical embellishments used in the music transcription analysis, such as an evaluation database table. The third chapter also includes the necessary explanations of the data table with the proper accompanying examples. The ornaments examined include multiplication, mordant, three notes, motifying, rhythmic diversity, long notes and rest filling, doubling, tremolo, trill, vibrato, glissando, octave play, chromatic, double notes, pedal notes, chord, arpeggio, and harmonics. In order to analyze changes in performance such as nuance and speed, the sub-headings are divided into categories including staccato, accent, accelerando, ritardando, puandorg, freestyle, and octave. They are evaluated under the heading“interpretation elements based on notation.”In the fourth chapter, the composition of Mesut Cemil's Nihavend Saz Semai, which has been selected as the musical basis for this study, constitutes one of the principal instances of Turkish instrumental music of the 20th century, particularly in terms of the modal structure and rhythmical elements it contains. Throughout this chapter we are able to observe performance transcriptions alongside the original notation. To that end, the similarities and differences in interpretation between the performers were determined with the help of analysis and evaluation table for the 1st, 2nd, and 3rd hane-s and 1st and 4th hane-s' performances. Notated transcriptions of each musician's performance is included in the 'Appendix' section of the thesis, while performance videos can be easily accessed by reading the 'QR' code which is placed to the right side above the notation. Throughout the analysis study implemented to evaluate the oud players' performance characteristics, first of all, the sections and the delivery of the transcribed work were treated separately and the transcriptions of all oud performers were analyzed through an one-to-one comparative approach. Το summarize, the study is divided into four chapters. First, there is an introduction to historical data that has been given to us regarding the origin and course of this musical instrument over the centuries, as well as the purpose and methodology of scientific research. The second chapter then constitutes a reference to the qualitative collection of biography data that emerged after interviewing each oud performer. The second chapter also includes a discussion of the interpretation concept as well as a reference to embellishments and narrative elements in the analysis of the musical performances. The study concludes with the fourth chapter, in which the evaluation of the characteristics of the musical performance is carried out in terms of the common points and the differences identified through the study and analysis of the recordings and musical transcriptions. According to the conclusive part of the study, incorporating the research patterns of both quantitative and qualitative data collection methods, the different musical interpretations of the same musical composition by Mesut Cemil“Nihavend Saz Semai”were recorded and analyzed. In this way the different oud players musical styles were approached. The aim of this study is to contribute to the understanding of the interpretation of different musical oud players performances. Finally, the present study is intended to be a future reference source for the oud players of our era. It is also worth pointing out that during the creation of oud methodology and the drafting of the curriculum for oud education it can be ensured that the techniques used will be included in future performers' educational lives, starting from the oud players' performance styles.

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