Sivas'lı Ozan Hasan Erdoğan'ın Ozanlık Geleneğindeki Önemi ve 13 Eserinin Derlenmesi

Abstract

Bu çalışmada Türk Halk Müziği eserlerini derleme çalışmaları göz önünde bulundurularak Sivaslı Ozan Hasan Erdoğan incelenmiştir. Sivaslı Hasan Erdoğan'ın yaşamı, sanatçı kişiliği ve eserlerinin bir kısmı incelenmiş ve örneklendirilmiştir. Yapmış olduğu ses ve albüm kayıtları araştırılmıştır. Söz konusu bu kayıtlarda bağlama ve sanatçının kendi sesi duyulmaktadır. Çalışmanın ilk bölümünde folklor, Türk Halk Müziği ve derleme hakkında genel bilgiler aktarılmıştır. Folklor teriminin yayımlanmış olduğu ilk kaynaklar incelenmiştir. Türkiye Cumhuriyeti'nde folklor teriminin ne anlam ifade ettiği aktarılmıştır. Folklorü ilgilendiren bir dal olan aynı zamanda ilgili konumuz olan Türk Halk Müziği'nin gelişim süreci incelenmiştir. Tarif ve tanımına yer verdiğimiz bu müzik türünü yazılı kaynaklarla bugünlere taşıyan usta isimler aktarılmıştır. Söz konusu usta isimlerin bu müzik türü için yapmış oldukları derleme çalışmaları göz önünde bulundurularak açıklamaları ortaya konmuştur. Türk Halk Müziğinde amatör ve profesyonel olarak ikiye ayrılan derleme konusu incelenmiş ve detayları aktarılmıştır. Genellikle amatör olarak yapılmış olan Türk Halk Müziği eserlerinin derlemeleri açıklanmıştır. İkinci bölümde Sivaslı Ozan Hasan Erdoğan'ın hayatı incelenerek sanatsal özellikleri ortaya konulmuştur. Sanatçının hayatı detaylı bir şekilde incelenmiştir. Doğup yetiştiği coğrafyanın özelliklerini bünyesinde barındırdığı ve özümsediği ortaya konulmuştur. Yetişmiş olduğu topraklarda müzikal olarak etkilenmiş olduğu usta sanatçılar araştırılmış ve Sivaslı Ozan Hasan Erdoğan ile görüşülerek ulaşmış olduğumuz bu usta isimler teyid edilmiştir. Hasan Erdoğan'ın tüm bu bilgiler ışığında sahip olduğu nevi şahsına münhasır tavır ve üslubu incelenerek aktarılmıştır. Yine bu bölümde söz konusu Ozanın sanat hayatı boyunca yapmış olduğu plak, kaset ve albüm çalışmaları incelenmiştir. Yayımlanmış olan bu çalışmalar ışığında sanatçının yapmış olduğu türküleri listelenmiştir. Uzun hava ve kırık hava formlarında eserleri bulunan sanatçının yayımlanmış olan çalışmaları dışında olan eserleride kendisiyle yapılan görüşmeler sonucunda araştırmamıza konu olmuştur. Toplumsal duyarlılığının üst düzeyde olduğu eserlerinden anlaşılan sanatçının, türkülerinde işlemiş olduğu konular anlatılmıştır. Üçüncü bölümde ise sanatçının deyişlerinin Türk Halk Müziği arşivine kazandırılması ve gelecek nesillere aktarılması sağlanmıştır. Bu bölümde incelenmiş olan on üç eserin şiiri ve melodisi ayrı ayrı değerlendirilmiş olup yazmış olduğumuz notalara yer verilmiştir. Sanatçının eserlerini icra ederken kullanmış olduğu bağlamanın özellikleri incelenmiştir. Sonuç bölümünde ise yaptığımız çalışmanın niteliği aktarılmıştır. Sivaslı Ozan Hasan Erdoğan özelinde yapmış olduğumuz bu çalışmanın Türk Halk Müziği alanında yapılacak olan araştırmalara örnek olması vurgulanmıştır. Türk Halk Müziği geleneğini koruyarak gelecek nesillere kalıcı bir çalışma bırakmanın önemi ortaya konulmuştur.

In this study, the Poet Hasan Erdoğan from Sivas has been examined by taking compilations of Turkish Folk Music works into consideration. The life, artist personality and a part of his works have been examined and sampled. His sound and album recordings have been investigated. The sound of Bağlama and his own voice are heard in the stated recordings. General information on folk dancing, Turkish Folk Music and compilation has been mentioned in the first part of the study. The first sources where folklore term has been published are investigated. What folklore term means for Republic of Turkey has been mentioned. The development process of Turkish Folk Music, concerning folklore and which is also the topic of the current study has been examined. Masters who transferred this music type, which we have described and defined, have also been mentioned. Compilation works the stated masters conducted for this music type have been considered and explained. The compilation topic divided into two groups as amateur and professional has been examined and its details have been conveyed. Turkish Folk Music compilations generally conducted as amateurs have been described. The poet Hasan Erdoğan's artistic features have been revealed by researching his life in the second section. The life of the artist has been investigated in details. It is shown that he has the geographical features where he was born and raised. Professional artists from whom the poet Hasan Erdoğan was influenced as musically have been searched and these masters' names have been verified by contacting him personally. His attitude and style have been examined and mentioned in the lights of this information. Discs, cassettes and album recordings of the stated poet have been examined in the current section as well. In the light of these published works, the artist's folk songs have been listed. The other published works of the artist having unmetered and broken melody folk songs have also been in our study as a result of our interviews with him. The topics expressed in the folk songs of the artist who seems to be very socially sensitive in his works have been described. In the third section, it is ensured that his works are acquired into Turkish Folk Music archive and passed into the next generations. The poem and melody of three works analyzed in this section have been evaluated separately and the notes that we wrote were presented. The features of the bağlama that the artist played while performing his songs have been examined. The quality of the study that we conducted has been put forth in the conclusion section. It is emphasized that this study carried out specifically for the Poet Hasan Erdoğan from Sivas will be an example for the studies regarding Turkish Folk Music. The importance of passing a permanent study to the future generations by preserving Turkish Folk Music tradition has been revealed. A large scaled research began in 1932 by the order of Atatürk. The community centers pioneered this research. İstanbul Municipality Conservatory started the first compilation works in 1936. These works continued for 4 years in Anatolia. The community centers were closed in 1946. Yapı Kredi Bank established a foundation to spread and sustain folk dances in 1952. This foundation had maintained its activities until 1969. Folk dance becomes a field of interest in universities in 1953. Mimar Sinan University Turkish National Student Union started to study on Folk Music and Folk Dances in 1954. Following 1958, a second Turkish National Student Union has launched the works on these topics. As a result of these works, "high education youth" founded the Foundation of Preserving Turkish Folk Institute. Folklore is only understood on the basis of dancing and singing songs in our country. However folklore covers a wider fact. A large part of the compilation works only focuses on two branches of folklore; folk dance and folk songs. One of the most important issues of our research concerns Anatolian Poet Tradition. In Turkey, the poet is also called ashik, folk poet, minstrel and etc. Their functions, the arts they perform and the traditions they pursue come from the same root regardless of the name given to them. Experts on the subject could not reach a consensus on how to define these folk artists and what to call the poems they wrote. It is understood that the experts approach various classifications carefully and they occasionally introduce new definitions. In fact, we learn from the available documents that the word "Ozan" (minstrel) which was also Turkish in the past was used. On the other hand, Âşık (ashik) and the other words stated are not Turkish. The poet should cover persons who can practice tradition with its entire requirements. There may be other nations performing this art but it is a fact known by Turkish Folk Music community that they have differences in terms of their traditions and are not rich as our tradition. In this regard, the Ministry of Culture took a step in order to establish the "State Folk Poets Union" but it has not been put into practice yet. The notes archive of TRT (Turkish Radio and Television) has drawn attention as the greatest data bank where Turkish Folk Music work pieces collected. Every music person applies to this institution which is important in terms of collecting songs to reach available works. It is seen in our studies that TRT does not include newly compiled works in this data bank. These attitudes and the relevant decisions force institutions and people performing compiling for some other researches. One of the most significant reasons of conducting this study is to make the compilation work as an immortal piece of work. Recordings which have been obtained from Hasan Erdoğan and the records we have made are examined. Since some of the recordings have various corruptions, we have detected the ones which are clean and not deformed and we have mentioned them in the study. The recordings have been taken from various albums of Hasan Erdoğan and during our interviews. Moreover, Hasan Erdoğan shared his photos taken at various periods and these photos are included in the annex of this study. When taking the works of Hasan Erdoğan from Sivas into consideration we see that he hasn't gone out of his own province much. Particularly in Divriği, wherever he has gone, he vocalized unmetered and broken melody songs by preserving his style. We also see that the artist used to examine and show interest in the works of Pir Sultan Abdal in the years of TRT. The most crucial issue while compiling is to reach reliable source persons. It is one of the most important features to be able to accommodate all the features of the region by him. The source person should produce the work or be able to perform it according to all rules and norms of the region and should be accepted by local people. The most significant matter to consider is that the music structure shouldn't be degenerated. Turkish Folk Music collections are divided into two groups. The first group is the amateur compilation. Amateur compilation is a documentation process where a person detects the source person and takes notes due to the musical and rhythmical aspects via voice recording. The second one is the professional compilation. These compilations where sociologists, historians, geography specialists, psychologists, musicologists, literary specialists, linguists and technical staff for recordings can have extensive research on the work and the region. We held interviews with the Poet Hasan Erdoğan during the preparation stage of our study. The music that he performs has been analyzed by examining what he told us during the interviews carefully. Musical and rhythmical structures of the works have been identified while writing the notes. The themes that he has treated in his works will be examined in the titles of the work. The works we have compiled were conducted by Hasan Erdoğan between 1980 and 1995 in Sivas Divriği where he lived and in Gökçebel village where he opened his eyes to the world. He reflected the characteristics of the region and his life in his verses and melodies. These songs were written by taking his loves, poverty and vital features of the region into consideration. Our poet, Erdoğan lived in his hometown until he was 18-20 years old and then moved to foreign land, a metropolitan. During his time in his hometown, he assimilated his hometown atmosphere and its features well and he created his works in the frame of homesickness because of migration. He states, "I composed my works based on homesickness. I always missed my homeland in metropolis. I tried to express and reflect what I felt, my loves, poverty and friendship in my songs". Turkish Folk Music notation is written by using a portrait composed of five lines and four tones. It is seen that treble clef above the second line is used in all works compiled in the note archive of TRT Turkish Folk Music library. We have written notes by following this tradition without any modification in the current study. In Turkish Folk Music, very few of the notes have metronomic values. We have determined and shown the metronomic values in this compilation work. This is intended to make it easier for professional musicians to perform works at the right speed without the need for existing recordings. One of the most important features of Turkish folk music is the profound meaning of the lyrics. Generally, they embrace life experiences and real facts. This study is a guide for similar studies and can be used to document and protect other poets. Otherwise, it is known that every undocumented work is changing over time.