Silifke Yöresi Sözlü Kaşık Havalarının İncelenmesi

Abstract

Silifke yöresi sözlü kaşık havalan" konulu bu çalışma İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü'nde, Güzel Sanatlar Anasanat Dalı Musiki Sanat Dalı, Türk Halk Müziği Alanı'na Yüksek Lisans Tezi olarak hazırlanmıştır. Silifke yöresi Sözlü Kaşık Havaları ile ilgili daha önceki çalışmalarda bir bilgiye rastlanmaması bizi bu konuyu araştırmaya sevketmiştir. Birinci bölümde; kaşığın ritm aleti olarak karşımıza çıkışı, daha sonra Silifke yöresi hakkında bilgiler verilmiştir. Sınırlan çizilmiştir. Tarihte aldığı bazı adlardan da söz edilmiştir. Silifke 'nin tarihsel gelişimine geniş olarak yer verilmiştir. İkinci bölümde; yöre oyunlarında kullanılan kaşık hakkında bilgiler verilmekte ve kaşık karşımıza değişik kimliklerle çıkmaktadır. Üçüncü bölümde ; Silifke yöresi Halk Oyunları hakkında bilgiler verilmektedir. Oynanan kaşıklı, kıvrak figürlerin çeviklik, çabuk hareket kabiliyeti ve enerji istediği görüşüne yer verilmiştir. Bu bölümde ayrıca kaşıklı oyunların amacının çoğu kez eğlence olduğunu görüyoruz. Daha sonra konu hakkında çeşitli görüşlere yer verilmektedir. Giysi, oyunların vazgeçilmez bir parçası olduğundan bu bölümde de Silifke Yöresi Oyun Giysilerinden kadın giysileri ve erkek giysileri olarak bahsedilmektedir. Dördüncü bölümde; biçim analizine yer verilmektedir. On dokuz ezginin notası yer almaktadır. Eserlerin incelenmesinde takip ettiğimiz yolda ritmik, melodik ve söz yapısının yanısıra biçim incelenmesine de yer verdik. Ancak özellikle biçim incelenmesinde kullandığımız eserin cümleleri a,b,c harfleri ile, bu cümleleri meydana getiren cümlecikleri kendimize göre tayin ettiğimiz bazı simgesel harflerle birlikte cebirde kullanılan işaretlerle de ifade etmeyi uygun gördük. Bu konuda ayrıntılı bilgi, biçim incelenmesi bahsinde yer almaktadır. Ezgilerin müzikal ve ritmik yapılanılın incelenmesinde, varyasyon meselesi Sayın Doç. Yalçın Tura'nın fikirleri doğrultusunda ele alınmıştır. Buna göre, cümleciklerde işlenen tema ilave notalarla zenginleştirmek bazı notaları atarak sadeleştirmek ya da nota yerine sus işaretleri koymak suretiyle II. değiştirilmişse melodik varyasyon yapılmış demektir. Eserin içinde usul değişikliği yapılmış ve işlenen tema farklı usulle verilmiş ya da düzüm değişikliği söz konusu olmuşsa ritmik varyasyon gerçekleşmiş demektir. Bunun dışında melodi, farklı nota değerleriyle tekrarlanmışsa yine ritmik varyasyon içinde yer alabilmektedir. Ayrıca.ezginin nazım şekli, usulü dizisi, kaç mısradan oluştuğu nasıl bir şeyin takip ettiği "İlk Bilgiler" başlığı altında verilmiştir. Ezgi analizlerinde »bölümler (A) ile, cümleler a,b,c ile cümlecikler ise x,y,z,a,p,,Q, p,r,s,t,u,v,k,m,n,o,d,f,g,h ile gösterilerek simgelenmiştir.

This study about "Silifke area worded wooden spoon dances" lias been prepared as a Master of Arts thesis at Istanbul Technical University,Social Sciences Institute, Academy of Arts Music Main Arts Turkish Folk Music department. Non-appearence of any information about Silifke area worded wooded spoon dances within the previous studies about the area's dances has encouraged us to do a research about this subject. In the first section, the existence of wooden spoon as a instrument of rhythm and after information about Silifke Area has been given. The boundaries are put down. The area's names in the antique periods has also been mentioned. The historical development of Silifke has been broadly mentioned. In the second section information about the wooden spoon used in the area's folk dances are given and the wooden spoon cai'nes in front of us with various identities. In information about the Silifke area folk dances are iv- explained in the third section. The opinion that the brisk figures played with the wooden spoon neecesitates swiftness ability to move fast and energy,has been given a place. Also in this section,we see that the reason for the dances in which the wooden spoones are used is generally for entertainement. Than various opinion about the dance has been put down. Since tihe costumes are inseperable parts of the dances, in this section also, Silifke area dance costumes are studied as women's and Men's costumes. A form analyses and the musical notes of 9 tunes takes place within the fourth section. We, as well as talking about rythmical melodical and wording strutcure, have talked about the form structure studies too, on the parth we have followed. But especially in the tune we have studied for the form words; we saw it fit to use the letters a,b,c and express the words which include these letters with some symbols used in algebra, along with some symbolic numbers that we have designated. Broad information about this subject has been given under the subject of form studies. The variation matter in studying the musical and -V- rhythmic structures of the tunes has been considered along the options of Asst. Professor Yalçın Tura. According to this opinion;if the theme used in the words are enriched either with additional notes or simplified by taking out the existing notes or if changed by placing a silence mark instead of notes that means a melody variation has taken place. If a method change has been done in the work and the theme has been given with a different method or a melodical change has been tha matter,that means arhythmical change has taken place. Apart form this, if the melody has been repeated with different note values,again it can be classified under a rhythmic variation. Also, the method.arrangement sequence how many lines and what follows,of the tune has been given under the heading of "initial" information. Within the tune analyses;the sections are shown and symbolized with (*) the words with a,b,c the sentences with x,y,z,a,p,0,Q,e,W9,nJP»r»s,t,u,v,k,m,n,o,d,f,g,h -VI Music has been a phenomena in human life that can not be given up since the beginning of the earth. Indeed, when we look backwards, we notice that the birth of the music is as old as the beginning of the human life. It is such that we see many assumptions to explain the birth of the music. Some think the music is started by imitating the animal voices. Those who take the matter in another way, explain it as; because of the reason the creature called human is bound to the culture of the earth tightly, he has indexed the important phenomena in his life to the earth. So, the human has been in need to generate a rhythm to accelerate his power. This sense of rhythm of the human, has got into the music and in the course of the time it has come to a form that can not be given up. Such periods formed in the art life of the human, has been able to catch a common point in our music as well. But the Turkish folk music has not found the common point sufficient. The Turkish people have proved that they were most capable nation to form a VII music containing the rich properties of either social, historical and geographical location and features. Indeed, The Turkish Folk Music can be grouped in many ways when the properties it contains are taken in to consideration. The Turkish Folk Music, depending to what variety of subjects varying from broken melodies to long melodies (songs of no patter) they were devoted, have been spread to wide range of geographical area. The melodies of Turkish Folk Music that encourages the human dynamics have a very important place among those colorful ones that reflect the regional characteristics. Our people, generally in wedding parties and in other entertainment occasions, use the articles in the surroundings as play material. In these plays, some times a kitchen article or the "spoon" the article of dally life has a special place. The people have used many articles such as spoon or the others not only as an article for feeding but also mainly for spiritual satisfaction in their musical life. As a matter of fact, the spoon, which can not be given up in.VIII the folk dances of İçel, Anamur, Silifke, Konya, Kastamonu, Eskişehir, Antalya, Burdur, Bursa Bolu has a great function. So therefore, the Mediterranean Coastal Region of Southern Anatolia is indicated as region of plays with spoon. In these regions we have mentioned the spoon is used as an rhythm instrument. In addition to the spoon that makes these regions unique for it, clarinet, violin and bağlama are the instruments used in these regions as well. The spoon songs take place in our people's entertainment I tradition in two ways; with words and without words. This distinction is valid for all areas where the melodies have words an played and danced with spoons. There are oturak (private parties) songs in Silifke as well. But we have excluded the oturak (private parties) songs in this study. We have limited our study with songs with word and spoon. Selecting the Silifke songs available in the T.R. T. repertory is another limitation as we have not found any collection from the İçeI~Mut -Silifke area collected by Dar-ülelhan during their trips to this area after The Turkish Republic was -]&.? announced. Considering these sources are most dependable as the Turkish registration records belonged to the state, we have accepted this, kid of limitation. We shall try to make an analysis of medium size while we study the worded songs of Silifke with spoon either for musical text rhythm and style. The Silifke Melodies are analyzed for style of text and musical structure 1 the light of the lessons we have taken in the Main Art Branch of Social Science of İ.T.Ü.A medium size approach is brought to the style analysis model applied to the Silifke Spoon Songs. But when necessary, a closer approach is selected for study.The melodic sentences, the minor sentences and the periods are first fixed and then they were grouped according to the characteristics of small-bigs and symbolized accordingly and afterwards we tried to produce grouped conclusions. The musical expressions fonned are called sentence or minor sentence. The unit formed by the sentences forms the period or the section. We can -X- formulate what we say as in following. Minor sentence < sentence < period or period > sentence > minor sentence In the sections will be indicated with " A " and the sentences forming a musical idea are indicated with a. be. The minor sentences forming the sentences forming the sentences will be indicated with the following symbols. Note: The repetition of the measurements are not taken in to consideration at the analysis. x,y,z,a,p,Q,y,W,£?,n,p,r,s,t,u,v,k,m,n,o, d,f,g,h We have tried to be quite careful at our studies during the observations interviews, using the library methods. The absence of a sufficient academic study for the worded spoon songs of the Silifke area, has lead us to perform this study. It is our wish that this will be a light for the future studies.