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Title: Geleneksel Türk Müziğinde İcra Geleneği
Other Titles: Massive Movement In Turkish Music
Authors: Güvençoğlu, Şerife
Öcal, Ömer
Türk Müziği
Turkish Music
Keywords: Müzik
Cumhuriyet Dönemi Türk Müziği
Osmanlı Dönemi Türk müziği
Türk müziği
Türk Sanat Müziği
Republican Period
Ottoman Period
Turkish music
Turkish art music
Issue Date: 1998
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: "Geleneksel Türk Müziğinde İcra Geleneği" adlı bu çalışma İstanbul Teknik Üniversitesi Sosyal Bilimler Enstitüsü Musiki Anasanat Dalı, Türk Sanat Müziği programında Yüksek Lisans Tezi olarak hazırlanmıştır. Bu çalışma üç bölümden oluşmaktadır. Çalışmamızın giriş bölümünde Gelenek ve Geleneksel Türk Müziği kavramları üzerinde durularak bu konudaki bazı önemli görüşlere yer verilmiştir. Birinci bölümde, Osmanlılar ve Cumhuriyet dönemindeki Musiki kurumlan ve bu kurumların tarihçeleri hakkında bilgi verilmiştir. İkinci bölümde, Türk Müziğinde Koro ve Toplu İcra Geleneği başlığı altında koro kelimesinin anlamları ve çeşitleri, Toplu İcra'nın içerikleri, Meşk' in tanımına yer verilmiştir. Üçüncü bölümde ise kıymetli hocalarımızın Geleneksel Türk Müziğinde İcra Geleneği hakkındaki görüşlerine yer verilmiştir.
This work with title, "Massive Movement In Turkish Music" is made at Istanbul University, Social Studies institute, Social Studies institute, School of Music, Turkish Music department. As I was doing this study, I began wondering during what date has this "Massive Movement in Turkish Music" then I began investigating. This work consist of three sections: Section of Introduction at our work clarifies the trends and concept of Turkish music, giving word to some of the major concepts involved in this regard. First section gives information about concepts of music during terms of the Ottomans and the Turkish Republic together with a brief introduction about historical account of the same. In the second section we describe the meaning of the expression "choir" under title Choir and Mass Movement Tradition together with assortments there of, in addition to description of term "Calligraphy." Section three however speaks about the expressions given by our esteemed instructors regarding the "Movement in Turkish Music." We worked on specific meanings of the expressions "choir", "calligraphy" and "massive movement", trying to bring about the differences involved among them. We further gave a detailed description of Massive Movement as well. The term "Tradition" comprises the morel values regarding cultural structure of society which has accumulated over long terms of time through generations to become a strong binding effect to various elements of society. VI Having consistent of master - pupil type of education, main thing that is done was to simply imitate the master's sound or voicing according to regional sounds we come up with tunes written according to beat of the style followed, insistent use of twin intervals regardless of tunes being with or without style, inclusion of tril and glissando in a concentrated manner in addition to instruments used being the typical for Turkish Music. We therefore can list the musical associations in ottomans until the Republic as follows: - Horsetail sets which consisted a dominant part of the military band had been known since times of the Hum Turks. According to what's learned from Divan-i Liigat'i Turk that the Turkmens have called the flag as "Horsetail" during when the military band had made public performance. Horsetail sets have been used in Mid Asia until the Ottoman times with "pipe" and "whistle" together with small drum, tambourine with cymbals, large drum and the bell. TABİLHANE Name given for military band which represent the authority in Islamic and Turkish states. The part of the military band that is regarded as basic and holly to the Turks is consistent to large drums of various sizes. The biggest was called the "Kos." MEHTERHANE Music made by mehter had been the first abridging with the western world. Military band belonging to the Ottoman State had two names; the on belonging to the Sultan was called "Mehterhane-i Hümayun" and the others were called the "Esnaf Mehteri." Since Sultan Murat the II had been someone who was fond of music and art, it is thought that the main development of Turkish military music was made during his times. Mehterhane which was banned by foundation of Republic however was remade in 1952. VII MEHTER It is not sure exactly since when this word mehter has been used by the Ottomans. It is Iranian originated and driven out of the word "mehter", meaning the best, the biggest and most authoritative. Instruments used by mehter musicians. Musical institutions which started in the Ottoman state and lasted until the Republic are as follows; -. ENDERUN. MUZKA-İ HÜMAYUN. HERAT SCHOOL OF MUSIC. MEŞKHANE. MEVLEVİHANE Republican term Banning the Mehterhane in 1826 and foundation of the new Muzika-i Hümayun is the start point of a new term in Turkish music. Such term has caused meeting of two cultures, giving a starting point of foundation of the combined Turkish culture and the western culture. VIII CHOIR AND MASS MOVEMENT The word "Choir" means; Combination of human voices. It may however be consistent of single person's sound or more. However the songs that are sang are always with text for music. Mostly it accompanies an orchestra choir. It also exists in choirs without musical accompany as well, despite not too often. Choir according to Anlet Say: a) A singing group taking part in stage dramas and in solo oratorios which happened afterwards. These singers are knows for their performance in a single voice and multi-sound. b) Composition made for such vocal groups c) Used as an expression describing the final sound and note arrangement of dio, trio and etc. in the 17th and the 18th centuries. d) For the chorus part in a song. Meaning of the word choir in various languages: Fr. Coeur, Eng. Hair, Germ, Char, Italian (where the Turkish meaning comes from.) Choir assortments. Classical choir,. Small choir,. Men's choir Massive movement contents. Massive oriental orchestra. Trebled instrument groups. Coarse instrument groups. Fash cedid description of Calligraphy IX Teaching and transfer of Turkish music of art had always been in terms of "calligraphy" until seventy or eighty years before. Learning sound and playing teh instruments together with acquisition of musical script by the students. The word calligraphy may be described in terms of "education" in its best means. Teaching and transfer of Turkish music of art had always been in terms of "calligraphy" until seventy or eighty years before. Learning sound and playing the instruments together with acquisition of musical script by the students. The word calligraphy may be described in terms of "education" in its best means. Calligraphy depends mainly on imitation and repeat in terms of music. A nother name for calligraphy is passing script. In calligraphy, the script has to be learned in terms of its style where memory concept taking the lead in terms of this particular system. Calligraphy had been taught in what's called the "Meşkhane" in the palace.
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1998
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1998
Appears in Collections:Türk Müziği Lisansüstü Programı - Yüksek Lisans

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