Şan Tekniğinin Türk Halk Müziğinde Uygulanması Ve Karşılaşılan Sorunlar

Abstract

Bu tez çalışması "Şan Tekniği'nin Türk Halk Müziğinde Uygulaması ve Karşılaşılan Sorunlar" adı altında hazırlanmıştır. Şarkı söyleme sanatı anlamında kullanılan şanın temelinde, insan sesi vardır. İnsan sesi verimli olarak kullanıldığında ve geliştirildiğinde en güzel enstrümanlardan biridir. Bir sesin eğitimine başlamadan, o sesin bütün özelliklerini incelemek gerekmektedir. Sesi iyice tanımadan, bu sese uygun bir metod geliştirmek yanlış olur. öncelikle sesin sınıflandırılması gerekmektedir. Buna göre öğrencide varolan ses sınırı genişletilebilir ya da bu seslerin kullanım tekniği geliştirilebilir. Daha sonra önem sırasında gelen ikinci konu doğru nefes almak, doğru duruş ve şarkı söyleme sırasında vücudu rahatlatacak egzersizlerdir. Fonetik ve diksiyon konusu da kelimelerin iyi boğumlanması ve dinleyiciye anlaşılır bir şekilde ulaşması açısından önemlidir. Ses eğitimi sonucunda kazanılan şan tekniği kişi ister opera sanatçısı olsun, ister pop sanatçısı, ister iyi bir jazz sanatçısı olsun, isterse Halk Müziği sanatçısı olsun her ses sanatçısı için gereklidir. Dolayısıyla üzerinde önemle durulmalıdır. Tabii ki her müziğin kendine göre bir söyleyiş tarzı ve üslubu vardır. Hatta bir opera sanatçısı dahi bir aryayı farklı üslupla bir napoliteni farklı üslupla okur. Bizim müziğimizde de bir Orta Anadolu türküsüyle bir Karadeniz türküsü üslup açısından farklılıklar gösterir. Ama sonuçta iyi bir icracı, iyi bir ses artisti olabilmek için ses eğitimi ve dolayısıyla şan tekniği şarttır.

Sound is difference in pressure taking place in air within audible limits. Such differences should have a greguancy between 20-20.000 Hz. and an amplitude between (0) and (120) decibel (dp) so that they shall be audible. Sound waves, thanks to their energy, vibrate objects when they hit vertically in their diffusion direction. There fore sound waves carrye nergy and transmit it through air, liquid and solid environtments. Explasion causes intensive sound waves sohich destroy walls, break glass with the effect of pressure waves. Gaseoos liquid or solid environments are requirepd for diffusion of sound. Since there is no air in space, which is outside the at mosphore surrounding earth, any strong explasion 150 km. high above earth shall have no sound audible in earth. Sound is a musical tool like instruments. Sound of a singer can be considered as an instrument producing sound and equipped with a word - producin device, or a speaking instrument eguipped with a device producing pitches. One should consider air supplifing, sound producing and sound organizing ports of human voice, which is a musical device. Singing reguires more air than reguired by normal breathing process. Diaphragm contracts when breath is taken. There for ribs wider and space is created for lungs which get larger. In this stage, contracting diaphragm and growing ribs should have a favounable relation in-between. This relation is significant in also breathing away. Vll Breathing capacity and control should be developed simultaneously. Breathing out determines a tane or group of tones which shall be kept. Singer's wealth consists of his / her lung capacity and breath control. Song interpretation that is voice adalation of a song and general vocal line positions, is called "tessitura". This can be brifly summar ned as "Song's tissue, development". The tone which nemains in the middle of degree register is the best in terms of singing. Therefore songs are generally composed on these tones, highest and lowest tones are used less freguently. Many singers, who started a career as a succesful tenor or bariton, changed register in later years. Tessiture of such singers does not depend on the natural structure of their voice. Because the manager to reach all notes of the songs they sing. A wider gualitative classification of singers can be made as follous: Dramatic soprano has the capability to affect stage and audince thanks to a strong voice. Lyrica soprano enjoys a soft guality as well as a sweet and moving style. Coloratura soprano can produce even highest notes with lagility. Tenore rabusto has a lively voice and energy necessary for reflecting such emotions like anger, love and sorrow. Lyrical tenor or tenore leggiera shares same characteristics with lyrical soprano. V1İI Basso profonda is a lowand strong voice, which can seflect such mood line majestry, pride and dignity. Bosso cantande is line lyrical soprano. Breath exercises constitute a significant port of voice training. Because correct and regular breathing is basis for and voice technigue. Studies to be perfoimed therefor are as follows;. Teaching diaphragm breath and cornect breathing. Diaphragm breath take in line smalling a flower and given out with (F) consanant.. Taking in correct breath and giving out with letter (s).. Long breath keeping,. Taking a single and deep breath, and giving it staccato with lelter (s). Breathing out should consist minimums short breathes in the begining but this figures sholud be incerased to 20 times.. Short-long and long-short breathing in with maximum 10 breathing,. Intermitent breathing between long breaths.. Big, medium, small, long and short breathing exercises.. Impulsion begining from small bretah and growing, and vice versa. (Maximum 5 impulsion). Upon completion of these breathing exercises, body sholud be softened both internally and externally. Languages and speaking studies should begin with phonetics of Turkish language. Lelters, which are basics for sound and speech, can be analyzed in two parts, nanely, vocals and consonants. IX First, it should be taught how vocals and consonants are produced in voice route, then exercises sholud be made by using these letters in words or phrases. Finally, diction (formal speaking), articulation (well pronouncitation), intonation (sound spectrum or melody line in singing a speaking sentense) and accent studies are performed. Every teacher has his / her own exercises. Some prefer complex and showy melodies, where as others adhere to simple exercises. It should never be forgetten that exercises aim at achievement in new specific voice technigues and maintaing exicting ones. No showy or striking exercise is useful if it does not serve for such aim. Exercise should be considered as steps in trainging and simple but useful melodies should be selected. Voice is best where it glitters. There should not be any forcing, but instead, this glittering point should widen to higher and lower notes. Instructor should not expect same positive reaction from all students. Some studenty performs vocals with a descending exercise where as other can do it with ascending exercises. An instructor should be well informed about this fact to be succesful. There are some vocals which can cause difficulty insuccessive singing. (I and E) Instructor considers individual capability differences while performing such exercises. Phonetics of Turkish language should be considered larynx development should be followed by word pharases and repertoire studies. Instructor should have knowledge on structure and repertoire of Turkish Folk Music. Singing an repertoire studies should be made simultaneouily to have success in Turkish Folk music singing. When such studies are completed succesfully, repertoire teacher launches manner and style studies. Musical schools offer voice training after childs mutation period irrespetive of a specific type of music. Conservatioires do not effer voice training courses except for licence programs. In singing branches of western music conservatoires and musical education faculties, singing is primary course begining from first year and geting complex on wards. Same tecnigues are instructed for also drama students in line with their capacity. « However, the case in guite different in state conservatoire of Istanbul Technical Universty. In voice training department of this conservatoire, singing course begins in prep class however, repertoire course is offered in second semester. Course hour is less in first and second class, and there is no repertoire course in third and fourth class. Because Turkish music style and manner is stressed in third and fourth classes, and singing courses are considered to hinder that. On the conrary, major profession is singing. Logically, singing course hours should increase in the later year. In instrumantal training department of the same conservatoire, instrument course hour incerases in later years, and singing department should follow suit. Many of instructors in this department agree with theses views, but nothing changes. XI Under new credit system, plans were made to offer no course other than western, music solfege, Turkish music solfege and English in prep class during 1997-1998 academic year. Vocal training shall be effered in first and second year, however it shall be optional in third and fourth years under the course title "Voice Care and Trainin"". It is necessary to use singing reguirements and facilities both in Turkish Music and folk music. This should be accepted at basis. No music can be made without exercises and knowledge on sound producing and usage. Vocal training should continue until getting neticed. This necessary for vocal health. On the other hand, it should not be forgotten that style, manner and interpretation is vital in folk (and art) music. This music depends on "meşk" system whether it is instrumental or vocal. That is, technique is a criteria in the west, but are prefer perfoimance, manner and style. As result, vocal training and style-repertoire studies should be made simultaneously. This is a must for creating true, scientific and lasting products.