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Anadolu'nun işitsel hazinesi: Halk şarkıları ve ilgili çoksesli koro eserlerinin karşılaştırmalı incelemesi [1933-2002]

Auditory treasure of Anatolia: A comparative research of folk songs and related polyphonic choral works [1933-2002]

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  1. Tez No: 842677
  2. Yazar: ÖMER YUSUF TOPÇU
  3. Danışmanlar: DOÇ. DR. İLKE BORAN
  4. Tez Türü: Doktora
  5. Konular: Müzik, Music
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2023
  8. Dil: Türkçe
  9. Üniversite: Mimar Sinan Güzel Sanatlar Üniversitesi
  10. Enstitü: Sosyal Bilimler Enstitüsü
  11. Ana Bilim Dalı: Müzikoloji Ana Bilim Dalı
  12. Bilim Dalı: Genel Müzikoloji Bilim Dalı
  13. Sayfa Sayısı: 510

Özet

Bu çalışmada, Türk Beşleri'nden günümüze, çoksesli koro eserleri veren bestecilerimizin, kaynağı halk şarkıları (türküler) olan koro eserleri araştırılmıştır. Bu inceleme ile, Türkiye'de çoksesli koro müziğine ve kültürüne, ulusal ve uluslararası katkılar açısından veri toplayarak, Türkiye'deki çoksesli koro müziğini araştırmak ve yorumlamak isteyen, koro ve orkestra şefleri, müzikologlar, akademisyenler, öğretmenler, öğrenciler ve araştırmacılar için, çoksesli koro eserlerinin oluşturulma yaklaşımları gösterilmektedir. Çalışma yedi ana bölümden oluşmaktadır. Birinci bölümde; Avrupa'da ulusalcılık ve çoksesli müziğe etkisi incelenerek modernizasyon sürecinde Türk Beşleri'nin müziğindeki ulusalcılık etkisi, Atatürk'ün ve Ziya Gökalp'ın müzik alanındaki ulusalcılık fikirleri yer almaktadır. İkinci bölümde; Avrupa ve Osmanlı'da çoksesli müziğin doğuşu, gelişimi ve ilgili müzik kurumları araştırma kapsamına alındı. Üçüncü bölümde; Cumhuriyet ile gelen müzik reformu, modernizasyon ve çoksesli Batı müziği rotası, Türk Beşleri'nin ortaya çıkış süreci ve Türkiye'nin ilk müzik kurumları incelendi ve Ulusalcılık kavramı ve Türk Beşleri'nin fikirlerine yer verildi. Dördüncü bölümde; Türk Beşleri'nin ve Cumhuriyet dönemi bestecilerinin kaynağı o halk şarkıları (türküler) olan çoksesli koro eserlerinin incelemesi yapıldı. Beşinci bölüm bulgulara, altıncı bölüm de eserlerin inceleme sonuçlarına, bestecilerin müzik dillerine ve önerilere ayrıldı. Eklerde Türkiye'deki güncel çoksesli koro oluşumlarının, yapılan kayıtların, çoksesli koro eserlerinin listeleri ve bu çalışmada yer alan teksesli ve çoksesli tüm eserlerin notaları bulunmaktadır.

Özet (Çeviri)

The developments in the field of music, which is one of the innovative movements during the birth of Ottoman and Republican Turkey, and the ethnomusicological studies in the creation process of the polyphonic National Turkish music, and the use of Anatolian folk songs as a source for polyphonic choral works are at the center of the study. This study investigates national and international contributions and practices to polyphonic music and culture in Turkey with the approach of nationality. The relations between Anatolian folk melodies, which are the roots of polyphonic music in Turkey, and the related polyphonic work, and the qualities in polyphony practices were questioned. By examining the historical process of the concepts of polyphony and nationalism in Europe and in Ottoman Turkey, the approaches of reflecting Anatolian folk melodies to the field of polyphonic Turkish music were investigated. Ottoman Empire in the process of shaping national polyphonic music, in the 18th/19th centuries, invites ensembles such as opera, orchestra, and names such as Liszt and Donizetti from Europe. This call causes the Turkish people to be drawn to the more global field of universal art. European composers write works that imitate the spirit of“alla turca”, but their perspective is mostly limited to the specific instrumentation, melody, harmony and rhythmic structure of the military janissary orchestras of the Ottoman Empire. Rey (1904-1985), Alnar (1906-1978), Erkin (1906-1972), Saygun (1907-1991), and Akses (1908-1999), defined as the Turkish Five, preferred to use national motifs and clunky/asymmetric rhythms in their works. However, the polyphony that exists in the world of Islamic music is different from that in the West. According to Picken (1909-2007), who published his book, Folk Musical Instruments of Turkey, which he dedicated to the Turkish people, in 1975:“The polyphony in the classical Persian-Arab-Turkish tradition is homophonic or mostly heterophonic”(Picken, 1954:73). Mahmut Ragıp Gazimihal (1900-1961) emphasized that it is necessary to try to clarify the“Eastern and Western”tonalities of folk songs with both (Öztürk, 2015:2), and then he approached the idea of pentatonism. A modal structure dominates Anatolia. Picken expresses the following views; In many respects, Turkish mods are more complex than Greek mods.“The makams exceed the sound system of Western music, which contains twelve chromatic degrees in an octave, due to the coma sounds they contain, and secondly, due to the differences in these sound systems, the Turkish and tampered Western five circles do not match. This incompatibility leads Turkish composers who want to write polyphonic music using Turkish maqams. The maqams mentioned belong to the Turkish music culture, which has a monodic (monophonic) structure historically, and Turkish composers who wrote polyphonic music were forced to decide whether to use comatose sounds or not, due to the incompatibility of this sound system with the Western system. In other words, they decided whether or not to adapt these sounds to the Western tampere system.. In Saygun's words, folk music that represents the culture and nation in the definition of nationality constitutes a giant reference center with the feature of being audio sources. 20th century national polyphonic Turkish music owes its existence to the entrepreneurial leadership of Atatürk, the founder and first president of Turkey. Atatürk, who was elected in 1923, initiates a remarkable renewal, including scholarship support, to lay the foundations for the rapid westernization of music education standards for the newly established Republic of Turkey and to raise generations of musicians and artists. With the conceptualization of this move, the overall goal is; to establish a national identity that is secular and more strongly aligned with the West. For this purpose, composers are funded by the government to work in Europe. This development allows the blending of the polyphonic Western music tradition of the Turks, which has been advancing for centuries, and Turkish folk melodies. As part of his innovations in the 1920s, Atatürk invites young musicians and artists to make Turkish art forms a unique standard on an international basis, by considering Turkish folk melodies as a source of inspiration and starting point for their works. With the simultaneous documentation of folk traditions and polyphonic Western music, researching, compiling, recording and meticulously studying local tunes, a new era begins, providing composers with the necessary materials to bring a new and unique Turkish identity to polyphonic western music forms and traditions. Rey is one of our composers who wrote operettas and revues in the western sense. While Tura is describing Rey; ”We see Rey at the beginning of the effort to create a polyphonic national school based on folk music, which was the main goal of those national schools, by using Turkish folk music for the first time, both for piano and for orchestra." (Ersel et al., 2014:158). The composer reflects his closeness to global, new music schools, his deep-rooted but far-reaching and multicultural side in his works. Alnar, on the other hand, aims to reach his own expression with Anatolian melodies. In Erkin's works, it is one of Erkin's techniques to give Anatolian lullabies and laments with a universal expression, and to articulate a section like a taksim between or above the asymmetrical rhythmic structure. Folk melodies are very rich in rhythm, and the 5th, 7th, 9th (4+5) (5+4) 11, 15 rhythm measures, which are not very unusual in the West, form the center. With their nationalism and polyphony approaches, the first generation Turkish composers preserve the local colors and turn to modal knitting, modality and trans-tonality approaches, with the character that is effective in the formation of polyphonic national Turkish music, with the structure, form and rhythms of both folk melodies and traditional art music. In this style, which offers the opportunity to create new melodies and structures with an athematic approach, sometimes with an abstract understanding of maqam and a colorful background for melodic diversity, harmony is also handled on the ground of dissonance. A distinctive vocal communication is created with maqam melodies, the use of quatrains in harmonic design, and their rhythmic use. They use ambiguous intermediate lines, homophonic structures, writing with pronounced accompaniment, and generally the synthesis technique in which the effects of modality and tonality are noticed in the same text. Major 3rd and now 5th chords are often experienced. Sections where polyphony and monophony are used together and the use of ostinato are also effective methods. With chords composed of 4th, 7th, and 2nd, tonality, atonality, modality are met in a canonical sequence. However, unlike Europe, which uses the triple harmony system to eliminate the problems arising from modality while the works in which Turkish music maqam scales are used are polyphonic, it is defined by the composer and theorist Kemal İlerici (1910-1986), with the overlapping of the quartets and based on the Hüseyni maqam. -The quartet harmony system, which was created based on quintet intervals, is also utilized. Arel (1880-1955) also underlines that triples and quintets are more natural, that the approach consisting of doubles, quartets, and quintets can also be used, and that it is not necessary to stick to triads only. The succession of the quads and the center of the axis sound are the distinctive features of the system. Another important character is the chords that are formed with three or four voices on the axis and the attractor. It has also been determined that Pentatonism is a local musical expression of Central Asia and Anatolia and naturally Turkishness. Based on the formation stages of the National Turkish Music movement and the polyphony process of folk melodies in this study, the Anatolian folk songs ( folk songs) selected from different regions and the polyphonic works that take them as a source show affinity in terms of their musical characteristics. Although polyphonic folk melodies have not lost their basic characteristics, they have gained some structural differences when interpreted with the polyphony system that the West has acquired over many years. The words of the material have undergone a few changes, some of them have been given a canonical structure, and an artistic basis has been created by adding dynamic and expressive indicators. Chromatic transitions, double, quadruple and quintuple intervals are frequently used cyclically on SATB lines. While the melody in the folk melody is mostly on the S line, it has also been transferred to ATB parties from time to time. Although the composers prefer the SATB-type choir, their works are; They also written for SA, ATB, TB, TTBB, Solo SATB variations. While some composers gave their works with the polyrhythm approach, they also preferred lame tenses.

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