Türk Makam Müziği Çalgılarından Tanbur’un Müzik Prodüksiyonu İçin Kayıt Yöntem Ve Teknikleri

Abstract

Başlangıcından günümüze kadar olan süreçte müzik dinleme alışkanlıkları, teknolojik gelişmeler paralelliğinde hızlı değişimler göstermiştir. Değişim; plaklardan kartuşlara, kasetlere, cd ve mp3 çalarlara kadar medyalar üzerine ve dolayısıyla müzik dinleme şekil ve alışkanlıklarına da yansımıştır. Kayıtlı müziğin yönetilen ve aşamaları olan bir ürün olduğu ve kitlelerin müziği dinleyişi de sahne icraları dışında, bu üretim aşamasından geçmiş ürünler üzerinden olduğu bir gerçektir. Özellikle popüler müzik endüstrisi bu gerçek üzerinden çalışmakta olup gerek müzik televizyonları, gerek radyolar, gerekse çoğaltım medyası olarak kullanılan sayısal diskler ve mp3 formatı günümüz yaşantısında müzik ve müzik dinleme eylemi denildiğinde akla gelenlerin en başında bulunuyor. Dolayısıyla kayıtlı müzik, planlı üretilen ve birçok işlemden geçerek dinleyiciye ulaşan bir ürün olma özelliğini taşımaktadır. Bu dünyadaki tüm müzikler için var olan bir gerçektir. Kayıtlı müziğin üretilmesi dünyada bir sanat öğesi olarak algılanmasının yanı sıra, bir bilim olarak da algılanmakta ve bunun için birçok çalışmalar yapılmaktadır. Bu anlamda her müzik türü gibi Türk müziği için de üretim aşamaları için incelemeler, araştırmalar ve belirlemeler yapmak gerekmektedir. Bu noktadan yola çıkarak tez iki amaç taşımaktadır. İlki, Türk makam müziği prodüksiyonunda tanbur için gereken mikrofonlama ve kayıt tekniklerini belirleme amacıdır. Tanbur özelinde gerçekleştirilen bu tezin diğeri amacı ise, bir çalgı için mikrofon teknikleri belirleme konusunun bir metodunu oluşturmaktır. Şimdiye kadar yapılmış çalışmalardan farklı olarak, mikrofonlama teknikleri belirleme çalışmalarında dinleyici kitlenin beğenilerinin esas alınması gerektiğini savunmakta ve de istatistiki anlamda ispatlamaya çalışmaktadır. Tez, ince ayrıntılar gözetilerek 14 mikrofonla kaydedilen tek bir tanbur icrasının, 9 farklı örneğe dönüştürüldükten sonra, anket yoluyla dinleyici kitleye ulaştırılarak alınan cevapların analizleri üzerinden istatistiki sonuçlara varmayı amaçlamıştır. Tez içinde bütün aşamalar sırasıyla ve ayrıntılarıyla anlatılmış, 9 tını örneğinin farklı analizleri yapılmış, anket sonuçlarının da analizleri yapılmış, istatistiki hesaplamalar verilmiş ve sonuç bölümünde elde edilen veriler yorumlanmıştır. Tanbur çalgısı özelinde mikrofon tekniği belirlemesi başarılı olmuş, %97,8 tutarlılıkla istatistiki tespit elde edilmiş ve dinleyici kitlenin estetik yargı verme yetisi üzerine düşündürücü sonuçlar ortaya çıkmıştır. Dinleyici kitlenin toplam 21 kategoride incelenen 9 örnek seçimlerinin standart sapma değeri ise ortalama %1,99 olarak hesaplanmış ve eğitim, yaş, müzik eğitimi, müzik zevkleri gibi tüm özelliklerinden ve kategorilerden bağımsız olarak, dinleyici kitlenin tını bazında estetik yargılarının tutarlılığı her şık için gösterilmiştir. Estetiğe relativizm tabanlı bakış ile, aşinalıklar ve alışkanlıkların tını bazında estetik yargıları yönlendirebileceği elde edilen veriler yardımıyla da tartışılmıştır.

In decades music listening habits have shown rapid changes in parallel with technological developments. Change took place from vinyls to cartridges, cassettes, CD's and mp3 players and therefore it has been reflected to the practice and the way of listening to music. It is a fact that, the recorded music is a product, which is managed and has production stages. With the exception of live performances, masses listen to these managed products. Especially popular music industry has been working on this fact. In today's life, music televisions, radios, compact discs and mp3 format are the first things that come to mind, when speaking of music or listening to music. Thus, recorded music is a product and has a feature as being planned and produced, which reaches to the audiences by passing through many processes. This is a reality that is valid for all type of music in the world. As well as a concept of art, production of recorded music is also perceived as a science; therefore many studies are done around the world. In this sense, making inspections, investigations and determinations for production stages of Turkish music is required as any other type of music. From this point on, this thesis has the purpose of determining the required miking and recording techniques of Tanbur for the production of Turkish makam music. At the same time, this thesis, which is a case study of Tanbur, is a work of creating a method for the issue of determining microphone techniques for an instrument. Unlike studies ever made, it defends that the necessity of the mass audience tastes must be taken into account during the work of determining the miking techniques and tries to prove this argument statistically. This thesis tries to prove/solve three different hypotheses/problems. These are: 1) A method proposal for determining the micing and recording techniques of instruments for Turkish music production. 2) Constructing the micing techniques for Tanbur using this method as a case study and as an example. 3) Sensation of sound and timbral aesthetics can be shaped according to the listening habituation. The first hypotheses can be taken and applied other than Turkish music instruments too. The reason it?s been used this way is, there were no studies about determination of the recording techniques for Turkish music production other than one or two. From beginning of the production history; artists, producers or sound engineers generally doesn?t seem to be in the same idea about how an instrument must be recorded or how the timbre of a particular instrument must be recorded. The recording or tracking phase of the production is generally based on tastes and artistic viewpoints of the people working on the production stages. So, this method was constructed on the idea of; if music is a product, then the audience must/can shape music productions because, a product is made for the consumers. We believe, it is not a question or problem of art when the production is taken as a popular music product. The main goal of a popular music product is to sell, so what audience wants is important. Of course, this method doesn?t say what is right or what is wrong, but it can show what audience wants. It is up to the producers, artists or the sound engineers to use this information on their products. For gathering the information about the aesthetic judgements of the audience, a survey is prepared and applied to the audience. As mentioned above, a Turkish maqam music instrument Tanbur has choosen as a case study in this purpose. The reason for choosing Tanbur is, there were no studies about how to record this instrument and the timbre and harmonics of Tanbur is fairly complicated and unusual for most of the listeners. The prediction is, if a complicated instruments recording technique can be determined based on the tastes of the audience, than any other instrument?s recording or micing technique determination can be achieved by using this method. I call this method ?DIKOMIT?, which is abbreviation for ?audience based miking technique? in Turkish. In the survey, 9 different micing techniques recorded by 14 microphones are served. All 14 microphones recorded the same performance at the same time. The reason behind this is because of the performance changes bring timbral changes or performance details can affect the aesthetic judgements of the audience. To prevent this situation, only one performance recorded by 14 microphones is used. 48 different melodies are recorded and one of them, which is best suited in terms of the chosen ?kürdi? maqam is taken for the survey. The melodies were 10 seconds long. The recording techniques, which are applied on Tanbur during the recording process, are determined by interviewing 16 Tanbur artists, Turkish Radio and Television sound engineers, lecturers and Tanbur luthiers. At the same time, some Western music instrument?s recording techniques has been used because of the anatomic similarities with Tanbur. The survey is applied over the internet, so audience could judge the timbres without changing their listening habits or environments. There were 4 questions with 3 choices in the survey. All 9 recording techniques are served in the first 3 questions and in the 4. question, the selections made in the first 3 questions are brought together to determine the absolute decision of the surveyer. This way one of the 9 different techniques is determined in terms of aesthetic judgement of one listener. Total of 515 people filled out the survey. Many properties like age, job, relation with music, music education etc? were asked in the survey. After gathering datas, 35 different analyses has been applied to the categories to see if any relation can be determined between the audience properties and their choices. Many similarities and relations determined by these analysis. After these analyses, similarities and relations seen in 35 categories are proved using statistical analysis. The relations are investigated by chi-sqare test and after that standart deviations of the choices are calculated. The results proved the first and the second hypothesis of this thesis. The recording technique of Tanbur has been determined using ?DIKOMIT? method. As a case study of tanbur, determination of the miking techniques has been successful, statistical consistency of 97,8% is obtained and the illative results have been emerged on aesthetic judgment-making ability of the mass audience. The average standard deviation of 9 audio sample choices of the listener group studied in 21 different categories is calculated as 1,99% and showed that the stability and consistency of aesthetic judgments of the mass audience on the basis of timbre are regardless of education, age, music education or musical tastes, etc? As a third problem in this thesis, from the relativistic-based point of view to aesthetics, it has been discussed with the help of the obtained data that the familiarity and habituation can shape the timbral aesthetic judgements. In the conclusion section, the reasons how this shaping can occur is discussed.