Ürgüp'lü Refik Başaran'ın Sanatçı Kişiliği Ve Yöreye Kazandırdığı Ezgilerin İncelenmesi

Abstract

Beş bölümden oluşan bu çalışma, Refik Başaran'ın sanatçı kişiliği ve yöreye kazandırdığı ezgileri incelemek amacıyla yapılmıştır. Birinci bölümde, çalışmanın amacı, önemi, kapsamı ve kullanılan yöntemlerle ilgili bilgiler verilmiştir. İkinci bölümde, sanatkarın müziğe ilgi duymaya başladığı yıllardan, san'atının doruğuna erişip ününü yöresinin dışına taşımasına ve 1947 yılında Ankara'nın Ayaş ilçesinde vefat etmesine değin derlenen bilgilere yer verilmiştir. Üçüncü bölümde, Refik Başaran'ın san'atçı kişiliği ile ilgili derlenen bilgilere değinilerek, yaşadığı dönem ve sonrasında kendisiyle aynı ekolü paylaşmış olan sanatçılar hakkında kısa bilgiler verilirken, bu alanda otorite sahibi olan değerli hocaların görüşlerine de yer verilmiştir. Dördüncü bölümde, sanatkarın 14 adet sözlü ezgisinin incelemesi ele alınmıştır. Ele alınan her ezgi; edebi yapı, melodik yapı ve müzik cümleleri hakkında genel bilgiler vermek koşuluyla 3 başlık altında sunulmuştur. Bu bölümde, her ezgide tavır özelliği gösteren motifler, tek tek tespit edilmiş ve sonuçlar kısmında bunlarla ilgili bir tablo oluşturulmuştur. Beşinci bölümde, Refik Başaran tarafından plağa okunmuş türkülere yer verilmiştir, plak şirketleri tarafından kayda geçirilmiş olan bu türküler bir liste halinde sunulmuştur. Bu çalışmada ayrıca, çeşitli kütüphanelerden, kişisel görüşmelerden ortaya çıkan verilerden yararlanılmıştır. Araştırmada Refik Başaran'ın yöresel üslubu, bağlama çalışı ve sesiyle gerek kendi döneminde gerekse kendinden sonraki yıllarda bir çok kişiyi etkilemiş olduğu saptanmıştır. Bu sanatkarların hizmetlerini bilgi olarak edinebileceğimiz kaynakların azlığı ve dağınıklığı, yapılan araştırmalarla tespit edilmiştir. Çalışmada Türk Halk Müziği'nin daha geniş kitlelere yayılması ve çağdaş yarınlara ulaştırılması için, bu konularda daha detaylı ve titizlik gösteren çalışmaların yapılması gerekliliği sonucuna varılmıştır.

This study consists the close examination of 14 melodies of folk songs that has been made a gain for the region by Refik Başaran and his artist personality. Refik Başaran is a great public artist, famous around whole country, not limited only in Nevşehir and its' suburbs. He had been a school in his subject because of showing great success in the art of sing and songs. He made fame as Anatolia's sing and song hero between the years of 1918 -1947. He brazed over wherever he visited like a storm, made even more and more fame with his playing the instrument and songs. Nevşehir is a region of ballads. Beside the ballads like "Sivridagi, Maraş Maraş Dedikleri, Hacıbey", the airs like "Çekmecemin Perçini, Çubuk Uzun, Kayabaşı, Aydos"has been still played and singed by the people of the region for a long times period. The folk songs and long airs are usually in a second order in this region. Folk music exactly carries whole characteristic of the Anatolian manner. This originality had been on the top point with Refik Başaran. In the whole songs of the artist, you can see that they are like ornamented with fringe as the melodies written with small notes. In most of the folk artists the impressions of "Kerem, Aşık Garip, Karacaoğlan, Dadaloğlu" are presented, also our artist had been widely showing the influences of the greatest bards listed above. Meanwhile it was known that the artist had been in the sphere influence of "Aşık Seyrani". In the years of 30'ies and 40'ies, editions of the records had been the leader of music. By the investigations that was made in that period, showed the great effects of record edition in the folk songs gaining symphaty all around the nation. The artists of a region usually uses the local characteristics belonging to their regions in their melodies, as they made electric recording of their songs, they had spreaded around the country. By this means the public notion could reach out to the wide mass of people. Except Refik Başaran the artists who helped to the diffusion of the regions' songs among the other cities is not much in quantity. The more important of these are "Nevşehirli Cafer, Avanoslu Selahattin, Ürgüplü Fadime ve Fadik, Ürgüplü Hanife, Ürgüplü Şevket Uçar, Nevşehirli Şerif Çopur, Ürgüplü Kamil, Nevşehirli Mistik Maviş, Ürgüplü Ali, Ürgüplü Aşık Mehmet, Nevşehirli Misali". Refik Başaran is one of the most popular master not only in his region, but also in general of Turkey. He had great contribution in spreading and getting sympathy of lute around the country. By the limited opportunities of that time, his 78 spinner, stone and pitched records had been spreaded to whole Anotolia and broke sales records. As it is understood from the specifications written above, Refik Başaran had been a real school of folklore in the period that he lived, continue being a school from that time till today. Through our researches, it is understood that intelligence and resources about the artists' personality is less in quantity and incomplete, this sufficiency pushed us to choose this subject. After the oral melodies that he recorded, had been investigated for achieving the differences and similarities between each other. At the last stage the manner characteristics of Refik Başaran had been indicated as a result. This study had been tried to reach a result by investigations, examinations and table-top studies. The study is created in 4 chapters: 1- The life of Refik Başaran 2- The artistic personality of Refik Başaran, and general information about the folk-artists who lived in the same time period with Refik Başaran. 3- The presentation of personal opinions about Refik Başaran. 4- The examination of 14 melodies that Refik Başaran made as a gain to his region. XI 1- The life of Refik Başaran: Our artist was born in the year of 1907 at the "Taşkınpaşa" Village 18 kilometers away from Ürgüp. His mothers' name is "Emine Hanım" and fathers' name is "Mustafa Çavuş". It is supposed that the artist began to interest in music at the age of 6 or 7. The person who helped Refik Başaran to go forward was his brother Fettah Başaran. Hence Fettah Başaran bought himself a lute at the age of 15. Our artists' first teacher was "Topal Hasan" from the "Yeşil Hisar" Village of Kayseri. He married Fatma Başaran who was living at the same village with him, at the age of 1 7. After he finished his military service, he come back to "Damsa" and continued playing lute in the wedding ceremonies. By singing the folk-songs that he made, his fame enlarged like waves and become a favorite artist that everybody likes. Refik Başaran had singed at a number of two hundred songs between the years 1 935 and 1 947. The grave of our artist is in the "Ayaş" town of the Ankara. But the Ministry of Culture explained that they would bring his grave to his village "Damsa" in previous years. 2- The artistic personality of Refik Başaran: Refik Başaran was taking his job more serious than anyone did, by this mean always he had desired that the art and artist would have been respected in wherever he went. He was conceited and had a character which was not bending under the authority. Among the simplicity of Refik Başarans' playing the lute, his singing folk-songs with lots of glottal catch, his ability in playing the lute without any frets, adjusting the volume of his lute to his own voice, gained him specialty difference from other artists. The artist loaded his first stone recording the year of 1935. The name of the record was "Tokat Mahlesinde Yaylayamadim". Till the year of his death 1 947 it is supposed that he made approximately seventy records. The name of the last record that he loaded is "Aziziye". XII The records of the artist is loaded and served to the market by "ODEON, POLIDOR, SAHİBİNİN SESİ, AND COLOMBIA" music companies. Refik Başaran has no certain education but one of his greatest originality is his voice that could be considered as a god gift, and the other thing is playing his private lute as if it speaks. 3- The personal opinions about Refik Başaran: In this part, the ideas of expert persons that we interviewed are occupied. These persons gave general information about the artist and also they were most of the people who knows the school of Refit Başaran, further more we have got their opinions about the style of his lute playing, artistic course, manner and voice performance. These experts were Assistant Prof. Sonel önaldı, Assistant Prof. Yücel Paşmakar, Assistant Prof. Orhan Dağlı from Istanbul Technical University and an artist of folk-music Mehmet Erenler from TRT. 4- The plan of examinations and the analysis of the dealing melodies: This part has the literary and musical analysis of the melodies, those mostly we wrote in notes, and there is a small part that was brought out from the archive of TRT. In this section the investigation plan of melodies have been as the following: a- The rhyme orders and syllable stops have been established from the words of the melodies that we deal with. By the results of this investigation the metrical composition of the melody had been exposed. Examples: ab+5 = 1 1 4+3 = 7 4+4 = 8 b- The gear, tonic, tone field, powerful and concerned series that create the structure of the songs' melody tried to be explained by this investigation. c- Voice bouncing that was made in the melodies has been investigated in this study. d- The motion characteristics of the melodies has been deeply investigated in this study. XIII e- The real manners of the artist was tried to be understood by asking questions and answering them in sentences those not determined before in the melodies those have been investigated in the last part. f- In this part of the study the series in Turkish Folk-Music and matching tunes of the folk-songs' melodies are tried to be brought out. g-ln the last part of this investigation the resolution sounds of the examined melodies are determined and presented. Result: In this section; the general appraisal of the information given in the thesis is represented.