Türk halk müziği yaylı sazlarından kemanenin doğuşu, yapımı ve ailesinin oluşması

Abstract

Bu tez, Türk Halk Müziği yaylı sazlarından Kemane'nin son dönemlerde üzerinde yapılan çalışmalarla ilgilidir. Kemane'nin günümüze kadardan gelişmesinin tarihçesi hakkında edin diğimiz kaynaklar doğrultusunda birtakım bilgiler verilmiştir. Çalışmalar sonucunda geliştirilen "Kemane ailesi projesi" hakkında de taylı bilgiler verilmiş, denge ve oranlar ile yapımı bu tez içersinde yer almıştır. Ayrıca bu tezin içerisinde Kemane yapımında kullanılan ağaçlar incelen miş, ses sahasına yaptığı etkiler araştırılmıştır. Genel olarak bu çalışma Kemane sazını her yönüyle tanıtabilme amacıyla kaleme alınmıştır.

This thesis is about the recent studies on "Kemane" which is a bowed Turkish Music Instrument. Here we have tried to present some knowledge on the history of "Kemane" related to its development since the very beginning until our time. A detailed knowledge is given on the "Kemane Family Project" which has been developed in our workshop in time, and the subject of balance & proportions as well as manufacturing has been mentioned in this thesis. On the other hand, species of trees which are necessory to be used in the manufacturing of kemane, also their effect on the sound range have been referred to. In general, this thesis has been written to present the instrument of "Kemane" in every possible aspect. -vi- Iklığ: It is the oldest turkish musical instrument played with a bow. The body being made from white gourd, it has a short handle with thin animal skins streched on it and has also three strings. Its strings are made of bow and horse hair. The one whose body is made of coconut is called REBAB. It is played in religious music. Many SAZ played with bow have been performed and developed from the IKLI? known at least since 1 000 years. IKLIG: Iklığ is the similar of the words "Kemence - Kemane" in Persia. It is called as REBAB in Arabic. In today's we see Iklığ as "KABAK KEMANE" which is an important Saz played with bow in the people music. KABAK KEMANE is still called IKLI? by mayn persons. In the IKLI? today the strings have changed and instead of horse hair and bow, it is used strings with steel and bandaged strings. In the last days, the body also is returning little by little to wood. Nowadays a few people only use the white gourd in the body section of Kabak Kemane. The majority of the new mode are realized by carving from the trees or in slices like tambur body and a fourth string is also added near the third one. The Kabak Kemane has 3 octave sound areas. Accompaying the Bağlama Team (Instrument with three double strings, played with a plectrum) as well, "Exile melodies" are played with Sipsi being very near to each other as tinkling sound. The body diameters of Kabak Kemane played generally in Egean Region is 14 - 15 cm, its depth 10-12 cm, its handle length (from the head edge to the handle) 30 cm, the string length (between Hand-Edge-Edge) is 33 cm as the Violin's (Keman's) string length. It is played while sitting being put on the left knee and with its special bow. The Kabak Kemane who is in way of development, has three different dimensions being normal and under normal. In the Kemene's complete (4/4), third of a quarter (3/4), half (2/4) and in Kemane's complete and forming just the upper of it, there are Soprano, alto, tenor and bas tenos. Until today some studies have been realized for developing the Kemane family by the Division of Instruments Manufacturing but it has not been possible to present them to the music commu nity as desired. The aim is to examine the subject in a scientific clay pot and to present it to the world of science and arts. In may research a theorical and experimental method has been followed. It has been recoursed to various books for some informations concerning the matter. As instrument it has been profited from many utensiles used in the manufacturing of music insturent. The Kabak Kemane of today has some little modifications from its ancestors. In order to obtain a widest sound area and tinkling sound, the Kabak Kemane that had in the past two or three strings, has now 4 strings in our today's. As the Kabak Kemane's made of white gourd have not specific dimen sions, because the white gourd is a natural plant and is growing in different dimensions, our people's music was negatively affected when those Kemane's were played together and each one sounding differently. In orderto modify this situation Mr. Cafer AÇIN Scientist and Manufacturer of Instrument being in service for research and development of the Saz since long years, has primarily porcured the body section of the Kabak Kemane to be carved from threes in 1975 and to be manufactured in slices and he realized its localisation in a specific standard. Mr. Cafer AÇIN in activity for long years in the Presidency and Members hip of Education of the Division opening in 1976 the Instrument Manufacturing Department to Turkish Music State Conservatory, has also continued the deve lopments on Kemane as it was done in the manufacturing and developments of other instruments, and in 1978 he created a new Kemane by mounting a sound table in the leathern section of the Kemane whose body section was made by carved tree and showing a shape of knotted white gourd. As the gourd in the manufacturing of Kemane does not possess a standard structure, it is not used in the manufacturing of the body. For this reason, the body section should be made of carved trees or trees in slices. Related with Kemane being an important Saz of our people's music, a "Kemane's Family Project" has been realized with the studies effected in the last periods. In the Kemane performed at the end of these studies, "the balance andrates" have been determined. Bodies in wood being more effective and delicate have been used regarding the sound and the aesthetic. The Kemane family has been formed by being manufactured in different dimensions in the tones of Soprano, alto, tenor, bas and thus the Turkish People Music has joined a strong family of Saz played with bow. My greatest wish is the traning of esteemed performers to play these strong instruments from Conservatories and the profit to be brought by them to our People's Music.