Artvin yöresinden alınan ezgilerin müzikal analizi

Abstract

Artvin yöresinden alınan ezgilerin müzikal analizi isimli çalışma; doğal ve tarihi zenginliğinin yanında yoğun bir kültür zenginliğine sahip ARTVİN'in Geleneksel Müziğini bütün yönleriyle ortaya koyarak incelenmesini amaçlamaktadır. Bu çalışmada yörenin folklorik değerlerinden olan oyunlar, deyişler, atasözleri ve bilmeceler hakkında bilgi verilmektedir. Böylece Artvin Folklör'ünün daha yalandan tanınması sağlanmaktadır. III. Bölümde ARTVİN'in geleneksel müziği bütün yönleriyle ortaya konup tanıtılmaya çalışılmıştır. Kırsal kesim ve sahil kesimi arasındaki melodik ve ritmik yapı anlatılarak, kullanılan çalgı grupları tanıtılmaktadır. IV. Bölümde ise yöreye ait ezgilerin müzikal analizi yapılarak, eserlerin form yapılan tespit edilmektedir. Bu analizin; yöreye ait geleneksel ezgilerin etnik kökenlerine göre gösterdiği değişkenliklerin tespit edilmesine katkısı olacaktır. Sonuçlar ve öneriler kısmında ise, ezgilerin analizi esnasında tespit edilen, donanım, durak, güçlü, "yeden", ses sahası, dizi, usul, düzüm, ölçü sayılan açısından yapılan incelemeler tasnif edilerek ortaya konmaktadır.Bu inceleme sonucunda ortaya çıkan veriler gruplandırılarak genelleme yapılmıştır. Yöre türküleri tavır özelliklerine göre sınıflandırılarak sahil kesimindeki doğu karadeniz tavrı,iç kesimlerdeki Azeri tavrı ve Erzurum'a yakın bölgelerdeki bar türkülerinin göstermiş olduğu özellikler saptanmıştır.Ayrıca ezgisel yapılar tespit edilerek üç gurup altında toplanmıştır. Yöre müziğinin ve folklorunun daha iyi anlaşılması için bu tarz çalışmaların yapılması gerektiği anlatılarak araştırmacıların dikkatlerinin bu yöreye çekilmesine çalışılmıştır.

The aim of my work, called ANLYSE OF THE MELODIES OF ARTVİN REGION, is to provide the analyse of all the particularities of the traditional music (public music) of Artvin which has natural and historical and also cultural riches. This study aims to introduce traditional values of Artvin region as well as the variation of the compiled melodies throughout the region by the social structure. The residences in the region are highly affected by the wild beauty of the nature. Many nations and civilizations settled in the region in the history. The domiciling of those nations and civilizations throughout the region created a significant cultural accumulation and enrichment. It is therefore necessary to know about the historical background in order to evaluate and find out traditional musical structure of the region so that the contribution to the traditional music may be understood by observing social and historical evolution of the culture. Section two therefore gives information about the history of the region. The excavations made in 1944 and the ruins revealed thereafter prove that the history of the region dates back to the Stone Age. First resident societies are found to have settled in the region during 3.000 B.C. The Hurris coming from the Central Asia settled in the region about 2.000 B.C.. At about 1.500 B.C. the Hurris joined and established the Mitanni Kingdom. This assembly produced and organized social life as well as an improved commerce. At 720 BC the Kimmers who had been exiled from the Eastern Europe arrived to the region and repelled many people living in the region and settled in the place. Such an event was also encountered during Skitian invasion at VIII680 BC. Both invasions had significant influences on the religional structure, life style, state organization, language and traditions of the region. The Arsakians proceeded to the region during 149 B.C.. They had a religion similar to Shamanism but adopted Christianity following the emergence of Christianity. Byzantian and Bagratli sovereignty encountered thereafter resulted in a natural evolution in the cultural structure of the region. Turks first became a cultural factor in the region during the midst of XI. Century. Islam sovereignty in the region was encountered while the Seljukians were ruling in the region after having terminated many Georgian and Armenian dominions in the region. The life of the people in the region continued under the influence of the foregoing events. The population consisting of Turkish, Armenian, Laz, Georgian and Kurdish people continued their peculiar life style and preserved their traditional features. A cultural interaction exists there from old times until today and it is the result of economical and social relations which exceed the people's own culture. This interaction provided the formation of an original musical structure. The lack of enough research caused the fact that this music is not know very much. First in 1950, the group of Ankara State conservatoire, formed of Muzaffer SARISÖZEN, Halil Bedii YÖNETGEN and Rıza YETİŞEN, have done some legal arrangements. Out of the individual arrengements and limited researches, it is not pessible to find any scientific work. The examination had been done by considering the ethnical structure of the region with its Knuckle-bones, Blustering Songs, Folk Dance and Bars. IXIn addition, the folkloric values are considered in order to provide to be known better by examining the plays, expressions, proverbs and crosswords. In the second party, the traditional music of Artvin is worked to be presented. The region is divided into two parts as shore and rural. The hard mountain conditions dominate at the rural part with plateaus, deep and precipice valleys, intractable and upright slopes. So the musical situation of the resident people is proportional with the geographic conditions. Other way the existence of the Azerbaijainis makes dominant the Azerbaijaini attitude. At the shore side, there are only Hopa and Arhavi villages. Until the formation of U.R.S.S., the people who were living there, went for long years to Batum in order to do business and this fact caused the Northern Caucasian interaction. The particular aim of this section is to reveal the traditions and music of the region along with entire features. Many traditions including the dressing styl exclusive to the region, daily utensils, knife dances and "Bar" dances, idioms, proverbs and puzzles are introduced. The features of musical speeches arising out of the interaction the region's music with ethnical cultures, literal features of the words of the traditional songs and ballads are also dealt with in this section. The region's instruments are presented by diverse groups. This section gives the Bağlama and Tar which are the most played instruments in the region. The instruments which are used in dance songs such as stringed, winded and percussion instruments are introduced. In the fourth part, the formal structures of the works are indicated by realizing the musical analyse of the region's melodies. This anlyse will be useful to indicate the differences issued from the ethnical root of the traditional melodies. Also the evaluation of the music caused by the cultural exchange will be observed.First the motifs of the chosen work, then, sentences are created and periods are determined. They are marked with some letters, the motifs as a, b, c, d, e, f, g, h, 1, 1, j, k, 1, m, n, o, ö, p, r, s, ş, t, u, ü, v, y, z...etc., sentences as A, B, C, D, E, F, G, H, I, İ, J, K, L, M, N, O, Ö, P, R, S, Ş, T, U, Ü, V, Y, Z...etc., periods as X.Y.Z....etc. First, they are expressed by groups, the symbolic declination is realized by group declination. The concepts about the works as progression, regular series or words of a song are precisely demonstrated. Additionally, this section assesses the lyrics of the traditional songs. The literal evaluation made in this section gives the verse styles of the songs, rhymes, syllabic metre and syllabic stops. The strings in the works of which literal and musical evaluations are made have been established. First their rhyme correspondents in the public music has been established which is followed by their evaluation with regard to their progress, stops and strength. Finally their melodical equivalent is defined. In the result and advices part, the examinations, received while realizing the analyse of the melodies, about equipment, s, strong "refrain", sound area, progression, regular series, measure numbers are realized. The scientific darums are aimed to be explained by numbers. The section of conclusions summarises the study, in general the issues concerning shore and rural regions. The yields of the musical and literal analyses made on the songs of Artvin are processed under a scientific point of view. The study conducted in the section is given under two headings, namely: Literal and Musical. The study examines the versification of the words of the songs (i.e. songs, ballad songs, basma,sema) and syllable stops as numerical values. The table attached to this study evaluates these numerical results. XIThe numeric analysis gives the steps that are found out in the songs and the melodical equivalent of them, their stops and strength, method of creation, volumetric values and conduct using numerical methods while table 2 gives the results collectively. The conclusions give the features of the songs of the region with regart to their melodies in 3 sub-sections. The 3 section are 1. The motiffs and words that are found as continuously repeating in the melodies 2. The melodies which has shown up in Tere section 3. The melodies starting from the trio or pentad proceeding towards the basiccound 4th section gives the characteristics of the region other than its melodical structure. Considering those, the songs of Artvin may be divided into two groups: rural (internal) and shore ones. The Azerion style melodies owing its existence to the ethnical variation in the shore region of which bars and Caucasian music are evidences, have been given along with the examples. The characteristics imposed by Eastren Black Sea Region which are particularly similar to those mentioned hereunder are given. In the advices part, we tried to explain the necessity of scientifec works in order to unterstand better the traditional values of Artvin Region and of diverse not well known and not enough researched regions. All the regions have to be examined according to the scientific research technics and after archiving the appearing datums, all the finds have to be rendered on numerical values. This kind of work can settle our traditional music on a strong structure depending on scientific values.