LEE- Müzik Lisansüstü Programı
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ÖgeOrganonscape, atmospheric relations and sound ethnobiology of kemence in and around Trabzon(Graduate School, 2021-12-17) Aslan, Uğur ; Karahasanoğlu, Songül ; 409162006 ; MusicKemençe is a three-string fiddle played especially in the East part of the Black Sea Region in Turkey. It is also called as Karadeniz Kemençe (Black Sea Kemençe) in order to distinguish this instrument from another kinds of Kemençes such as Klasik Kemençe or İstanbul Kemençesi, performed mostly in Turkish Classical Music. Kemençe is also a crucial part of the social life of the Black Sea people. In many cases, people express their cultural identity with this instrument and it represents their place, region, and even environment that they live in. This study aims to reveal the complex relations from the making of the kemençe to the musical performance and from its place in the soundscapes of the Eastern Black Sea region to the problem of the representation of the kemençe in the region. In this direction, I evaluate the kemençe instrument from three different perspectives and reveal the relationships of the kemençe with a different dimension in line with each point of view. These dimensions are space, nature and sound. I collected the data about the kemençe by the fieldwork method. I used participant observation and interview techniques in the study. In this direction, I started taking lessons from İlyas Parlak, one of the well-known kemençe players in the region, since 2018. The fact that Parlak knows the region very well and is aware of the musical differences in the region has enabled me to distinguish more clearly the musical identities in the region. In addition, I obtained the data on the role of kemençe making in creating sound communities and its relationship with nature by conducting interviews with well-known kemençe makers in the region. In order to interpret the kemençe from three different perspectives (space, nature, and sound), I held three different literature reviews and conceptual frameworks for this study. These three different perspectives are included in three different chapters in the thesis. In the first perspective, I discussed the aural spaces of the kemençe by making use of the literature of cultural geography and organology. As a result, I determined the aural spaces of the kemençe in and around Trabzon through different types of kemençes. I propose the concept of organonscape in order to explain the spatial analysis of the kemençe in this study. Through this concept, I show that kemençe takes place in a non-representational aural space in and around Trabzon, because five different types of kemençe(high-pitched, middle sized, low-pitched, four-stringed, and electronic) are performed in every part of the region and they are interacted with each other. In the second perspective, I focus on how the kemençe creates certain feelings among people (bodies) through specific performances. In this context, the term I put in the center is sound. While discussing the sound of the kemençe in the context of performance, I examined the concept of atmosphere in this section in order to answer my research question. In this section, while referring to the kemençe performance, which I consider as atmospheric practices, I have discussed the components related to creating a certain atmospheric situation with the concept of atmospheric relations. In this context, I aimed to present a broad structure that starts with the sound focus and also deals with the relationships between bodies in specific kemençe performances such as plateau festivals or muhabbet gatherings. In the third perspective, I deal with the relationship between the musical instrument and nature while assessing the instrument making process. In this context, in this section, I have discussed how natural resources that are used in kemençe making form the sound and timbre of the kemençe. In this context, while making use of the ecomusicology literature, I also examined the term sound ethnobiology in detail. As a result, I propose the concept of the sound ethnobiology of musical instruments in this section. I took this concept as revealing how the luthiers' relationship with nature affects the instrument during the instrument making process. When it comes to the sound ethnobiology of the kemençe, luthiers can classify tree species in terms of suitability for making kemençe, taking into account the place where the trees are grown. Luthiers also know what kind of timbre can be created through what kind of tree. This knowledge of knowing the natural sources of kemençe constitutes the traditional ecological knowledge of sound production in the region. In connection with the various uses of natural resources, different types of kemençes can be made and each type of kemençe creates its own aural space in the region. Consequently, local people reinterpret the kemençe instrument in a fluid aural space and create a space that is represented through the sound and timbre of the instrument. I considered this space as the organonscape of kemençe in this study. In addition, how the kemençe performance creates a common feeling and belonging on people is revealed with the concept of atmosphere. Thus, atmospheric relationships, practice, and certain atmospheric arrangements are required for these specific situations to occur. Finally, the relationship of the kemençe instrument with nature has been evaluated within the framework of sound ethnobiology from the manufacturing process to finding the appropriate timbre, and in this sense, it has contributed to future ecomusicology and sound ecology studies in terms of instrument-based studies.