Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17875
Title: Hicaz Ve Evç Makamında 22 Rumeli Türküsünde Güfte-makam Ve Usül Analizi
Authors: Atlığ, Nevzad
Özbilen, N. Özgül
43810
Türk Müziği
Turkish Music
Keywords: Güzel Sanatlar
Müzik
Evç makamı
Güfte
Hicaz
Makamlar
Rumeli
Türküler
Fine Arts
Music
Evc mode
Lyrics
Hedjaz
Modes
Rumelia
Folk songs
Issue Date: 1995
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Bu tez Türk Musikisi repertuarında önemli bir yer taşıyan Rumeli Türküleri'nin güfte, makam ve usûl analizi şeklinde yapılmış çalışmayı kap samaktadır. 400 yıldan fazla bir zaman diliminde, aynı topraklar üstünde, aynı uygarlık şemsiyesi altında yaşayan farklı etnik grupların, karşılıklı duygu ve kültür alışverişi içerisinde, sade bir Türkçe ile Türk Musikisi makam ve usûlleri ile bestelenmiş Rumeli Türküleri'nin musıkimizdeki yeri ve önemi büyüktür. Rumeli'nde biçimlenen bu özgü repertuar musikimizin zen ginliğidir. Türküler bugünkü okunuş şekilleri ile kabul edilerek, güfte, ma kam ve usûl açısından analiz edilmiş; elde edilen kimliklerle ortak yönleri ile günümüzde bulundukları şekillerin doğruluk dereceleri araştırılmaya çalışıl mıştır.
It is not possible to define a specific region for the expansion area of the folk songs which are gathered under the name of the Rumeli Songs. The border of the region of this songs lays from the near western parts of Istanbul to the border of Austria - Hungary empire, from Crimea to the banks of Tuna, which are wholly called as "Rumeli Lands" These were the Ottoman lands on the Balkans. The rades (invasions) of the Ottoman rade forces (invaders) that were done through the inlands of Balcanians and Europe; the wars of the Turkish armies the 15 th centruy, the conquests, the victories and the defeats of the armies and the whole related history that is woven in these lands generate the subjects of the RUMELİ SONGS. The setting that these Rumeli Songs were formed is full of: Ottoman architectual menuments that were presented tho these lands such as inns, baths, musques, medrese's, mollstary barracks, schools, fountams and bridges, The embroidery of the social life at this setting in the new ottoman lands was reflected in to these songs as words, ritm and melody. Precise information about the composers of these songs is not available. Where as the composers could be çöğür playing poets among the Ottoman invaders and jeniaries. It is also possible that the folk artists, among the immograted residents of these lands could have creat ed these songs. There fore whole Rumeli Songs are accepted as anonymous. There is no doubt that these songs are composed by the ares who have very sophisticated music knowledge. Another thing that can be said about Rumeli - Songs is their opennes to the cultural and spiritual interaction of the different ethnic groups on the some lands under the some civilization umbrealla for more than 400 years. Some division of the Rumeli Songs are named as Border songs, Sefer songs, Rader songs. They mention about a war on a war preperation, norrate a victory or a defent. Some of them are heroistic songs, some of them are the songs that the immigration and the longing for home lands are taken as the subject. vii Some types of these songs are called as enterterinment (Ağırlama) and Karşılama Songs, Köçekçe and play songs (oyun havası) that are say in weddings, ceremories and social fatherings. Another type of these songs are the love songs of the aching hearths. The most vital examples of the instrumental music; the sirto and Longa's that are formed is Rumeli ces a part of its specific repertuary are the presents for the Turkish Music. All of he Rumeli Songs are werded, poetted with the most beautiful and pure style of Turkish and they are composed with the styles makam of the Turkish music. The instruments that were used vared according to the regions and areas in time. Some of the insturements that were used to play these songs can be counted as folk string instrument, çöğür, drum and zurna, clarinet, violin, lavta, santur, small violin (kemence), oud and kanun, reed flute (ney) and tanbur. In this study it is aimeed to specify the common points of the songs which make some one feel and understand that it is a Rumeli Song. Having a very important place in the Turkish Music, the Rumeli Songs are analysed in terms of their words. Makams and styles. Especially the most common makams, Hicaz and Evç are choosen fort this study. The basic objective is to enlighten a preriously un - searched issue and to give information. Rumeli songs (including all makams other than Hicaz and Evç) are such important works to be the subject of more detailed studies. CONCLUSION It this thesis, a tecnical analyses is made for 22 Rumeli Songs in Hicaz & Evç Mods in terms of their lyrics, mods and styles and some common points are determined. In literary point of view the style of poems, unknown words (glossary), the general meaning, the scale (vezin) and the rhyme, the repented words, syllable - music retation, the structure (summary) and the accents are examined. In musical point of view, the structure of mods, the range of voices, melodic walks, style - melody matches and style-syllable harmony ae examined.
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1995
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1995
URI: http://hdl.handle.net/11527/17875
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

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