Malatya Arguvan Yöresi Din Dışı Ezgilerin İncelenmesi

Abstract

Bölümden oluşan bu çalışma Türkiye Radyo Televizyon Kurumu müzik dairesi yayınlan Türk Halk Müziği Repartuarından Malatya Arguvan yöresine ait ezgilerin incelenmesi amayla yapılmıştır. Çalışmanın l.Bölümünde sorunun belirlenmesi, çalışmanın amacı, önemi, kapsamı, yöntem, metod ve yazım biçimi ile ilgili bilgiler verilmiştir. 2. Bölümde Arguvan'ın tarihi corafi ve sosyal kültürel durumu yaşayışı ve Arguvan yöresine bağlı bucak ve köyler hakkında bilgi verilmiştir. 3. Bölümde ilçenin ağız özelliği ve yörede yetişen Aşık ve şairlerin bazıları hakkında bilgiler toplanmıştır. 4. Bölümde Arguvan'ın ağız ve melodik yapısı hakkında yayınlanmış ilgili yazılar birarada toplanmıştır. 5. Bölümde 5 adet sözlü ezginin incelemesi ele alınmıştır. Ele alınan her ezgi makam incelemesi, müzik cümlelerinin incelemesi, motif incelemesi, usul incelemesi ve ezginin edebi incelemesi olmak üzere beş başlık altında sunulmuştur. Bu çalışmada Arguvan yöresinin müzik karakterinde uzun havaların önemli bir yer tuttuğu ve yöre insanlarınca sıkça söylendiği tespit edilmiştir. Bu nedenle yörede kırık havaların usul yönünden değişkenlik gösterdiği ve bölgenin genel karakterinde melodik varyantların azlığı yapılan çalışma sonucunda ortaya çıkmıştır. Bununda yöreye has gırtlak yapısından ve motif zenginliğinden kaynaklandığı tespit edilmiştir.

This study consisting of 7 sections has been carried out for the purpose of examining the melodies unigue to the region of Malatya Arguvan from Turkish folk music Repertory in the publications of Music department of Turkish Radia Television Institution. Information has been furnished the I. Sections of the study in connection with the determination of the problem, purpose of study, its importance, scope, method, procedure and writing type. The second section gives information as to the history, geography and social cultural state, life style of Arguvan and the villages and the towns connected to Arguvan region. The 3. Section compries information compiled in respect of the province and same of the bords and poets emerged in the region. In the 4. Section the writing concerning the dialectic and melodic structure of Arguvan have been compiled. In the 5th section, the f autures of the local dialect in Arguvan, formetion of the Ianfuage, syllable falling in vowels and non-vowels, derivations, similiarities, syllable falling and some words specifie to the region have been given for information. In the 6. Section, the examination of the melody in terms of melody patterns, note procedure examination within the melodies, determination of value, motifs, variation between motifs and ryhtms, literary studies introduced a result in connection with the melodies. In 7. Section, accordig to the result drawn from these melodies, a certain judgement has been reached concerning the rythmic values in the musical sentences prevailing in the region, note value determination in the melodies, examination of motives, veriations between motives and rythyms, melody analysis and derivation of source melody and literary study. This study also undertakes to introduce the provincial characteristics concerning the Arguvan regions melodies occupying a unique place in the Turkish Folk Music. Melodies are not plain in terms of procedure. Accordig to the conclusion drawn from the examinations of the uzun hava (type of musical pattern) of the region, carried out beforehand, the people of the region, is better positioned to read free melody Generally, uzun hava is frequntly played in the region. This results from the social life style of the people of the region. Thus, one observes slow and free singing in the uzun hava as well as rythmic hava therefore, rythym is always obrervcd to change. -VI- Hayal : A motif fequentlye encountered in the region, Hayal region is more often encountered in the uzun hava. During improvisation, the reason why the bards or prouincial artists of the region created "hayal" is that they sought to work out the melody and words in his mind. This kind of hayals is also observed in Rytmic melodies. After hayal reaches the pause, repetition within one or two vaices on the pause Facilities the preparation of a new pattern. The scarcity of the melodic variations encountered in melodies, deonstrates the richness of the region in terms of melody, The throat structure unique to the region and free types introduced the motive richness. According to the resert of the table of grades, the strengas sonds: Respectively as fllows -VII Value total in the entire melodies 208 + 180 + 22.5 + 366.5 + 219 + 7 + 33.5 + 44.5 = 1281 sixteen grade. Proportion of the pitches Within the melodies are as follows : It has been observed that when a comparison is made between the melodies, all of them has a LA pause, in the 1. and 3. melodies, SOL voice has been used to reach the pause and in the hayal gegion in 5. melody, FA# and SOL voice, has been used in the impulsive tones and in the hayal region. - The common procedures in the mlodies examined are set out in order; 9 times 2 + 2 + 2 + 3 = 23 measure 7 times 2 + 2 + 3 = 18 measure 5 times 2 + 3 = 16 measure 8 times 3 + 2 + 3 = 10 measure VIII- Value total in the entire melodies 208 + 180 + 22.5 + 366.5 + 219 + 7 + 33.5 + 44.5 = 1281 sixteen grade. Proportion of the pitches Within the melodies are as follows : It has been observed that when a comparison is made between the melodies, all of them has a LA pause, in the 1. and 3. melodies, SOL voice has been used to reach the pause and in the hayal gegion in 5. melody, FA# and SOL voice, has been used in the impulsive tones and in the hayal region. - The common procedures in the mlodies examined are set out in order; 9 times 2 + 2 + 2 + 3 = 23 measure 7 times 2 + 2 + 3 = 18 measure 5 times 2 + 3 = 16 measure 8 times 3 + 2 + 3 = 10 measure