Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17848
Title: Hisarlı Ahmet'den Alınan Ezgilerin Müzikal Analizi
Other Titles: Musical Analysis Of Melodies Taken From Hisarlı Ahmet
Authors: Emiralioğlu, Afşin
Aldemir, Arzu
53304
Türk Müziği
Turkish Music
Keywords: Müzik
Ezgi
Halk müziğ
Ahmet Hisarlı
Müzikal
Music
Melody
Folk music
Ahmet Hisarlı
Musical
Issue Date: 1996
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Türk halk müziğinin kaynak kişilerinden biri olan Ahmet Hisarlı ( Hisarlı Ahmet )'yı tanıtan ve ondan alman ezgilerin müzikal analizlerinin yapıldığı bu çalışma dört bölümden oluşmaktadır. Birinci bölümde ( Giriş ) konunun seçilme nedeni, yapılan çalışmanın amacı ve kullanılan yöntemler; İkinci bölümde, Kütahya ili halk müziği tarihi ; Üçüncü bölümde, Hisarlı Ahmet'in hayatı, sanatçı kişiliği ve onun hakkındaki görüşler; Dördüncü bölümde, Hisarlı Ahmet'ten alınan ezgilerin müzikal analizleri; Sonuçlar ve öneriler bölümünde, konunun küçük bir özeti, varılan sonuçlar ve yapılacak yeni çalışmalar için öneriler; Ekler bölümünde ise, sanatçının şahsi resimleri ile basında hakkında çıkan resim ve yazılar verilmiştir.
We haven't found enough written resources about the folk music of Kütahya. In this subject we have consulted theviews of Mustafa Hisarlx, who isson of Hisarli Ahmet a famous saz musician who became intimate with this regional music since his child hood. " As you know Kütahya is a town in which Selchukan and Ottoman provinces had lived in history. In the historical period music has deve loped in two ways. Folk and art music it is maybe because of the town's historical and cultural richness that a " classicism " is seen in the folk songs of Kütahya. Folk music was performed in wedding ceremonies and celebrations. Men and women sat apart during weddings. Among the women some were called " salâ- cı " had tambourines and spoons in their hands and were singing folk songs while everybody was parti cipating ( joining ) them. The folk songs contai ned themes like trousseau's, sending away the bridge groom and the henna tune. The folk songs are of two types with and with out dance. Those which are with dance are in the type of zeybek ( a regional type of folk dance ) or encounter. The three - stringed - bağlama ( a stringed instrument like a saz ) is the most important saz in the region. With this saz a kind of performance is done. When there weren't any society's ( clubs ) in Anatolia, meetings which were called " Gezek " were held in these meetings, young people were educated in a atmosphere based on respect and affection while they were dancing, performing music or chatting with each other. These places were a kind of school where culture was transmit ted from one generation to the other when the music in these meetings had started nobody was smoking, stretching their feet or talking. Although having no recorders at that time, it was through the Gezeks that our folk songs could pass from generation to generation without -VI- being degenerated. Also, the master - apprentice relationship was going on besides the Gezeks. Later, folk music and folk practices were carried out in Folk houses foundations like the Red and Green Crescent. Hisarlx Ahmetwas born in Kale-i Balâ (Hisar) in 1908. As he was a child his passion for bağlama and his beatiful voice made him an important person among his friends. Hisarli's principal masters were Nuri Çavuş, Önal Bey and Terzi Sadxk Bey. Also, he played and sang in Gezeks with Kelerler' s Ethem Efendi, Dülgerler'. s Hüseyin Ağa and Arabacı İbrahim Ağa. Ahmet Hisarlx stated that he acquired his musical knowledge in Gezeks and meetings called "eğlenti" ( entertainment ). He contraverted his shop, after performing his father's job as a scarf manufacturer and a cafe' administrator in to a music instruments store. Without gaining any material profit he taught his knowledge of music to people interes ted in it. -Vll- It is that, everybody who could play little of bağlama gained something from Hisarli Ahmet. Ahmet Hisarlx, being the primary resource person of almost all the Kütahya folk songs, has been in close cooperation with musicians like Muzaffer Sarısözen, Nida Tüfekçi, Yücel Paşmakçı which has caused the TRT. to gain many folk songs to their repertoire. ^ He took " Hisarli " as his sirname which was his nickname in the region instead of his real familyname. Although he was very religious he never left music. His greatest pleasure was the performance of his folk songs by other singers. Hisarli died January 4, 1984; the performers ( singers ) he educated were his son Mustafa Hisarli and regional musicians like Kazım Balta, Ömer Koca- oğlu ( Aşık Ömer ), Nairn Usta and Veli Abaş. Hisarli Ahmet's tunes ( melodies ) can be analyzed as follows: Firs in composure (themes) -Vlll- halts, powerful voice range, string, method and beat; later on notes were studied interns of from and stated as group and in symbolic equations. 32 out 38 melodies that we have analyzed rema ined on the La octave while the remaining is 6 are the Sol and on the Fa octave most of the melodies ending on the La octave ( 16 ) are using the Si and Si octaves, Also 7 melodies remain on Si - Do octaves, 6 melodies remain on the Si octave. In terms of beat, usually the 9 beat system is used. ( 9/8 beat: 18, 9/4 beat: 2 ) Besides this mixed beats are used. These regional melodies are very broad in terms of voice ranges. The number of melodies having one octave and having a width is 36. As it can be seen, Kütahya folksongs taken from Hisarli Ahmet are very rich in terms of melody and rhythm and every melody has a great artistical value,
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1996
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1996
URI: http://hdl.handle.net/11527/17848
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

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