Bağlamadaki eşik sistemi üzerinde yeni uygulama

Abstract

Bağlamanın sağlıklı bir yapıya kavuşması, halk müziğinin gelişmesi ve günümüzdeki ihtiyaçlarını karşılaması açısından önemlidir. Son zamanlarda üniversiteler bünyesinde yapılan bilimsel çalışmalar önemli gelişmeler ortaya koymaktadır. Bağlamada halen mevcut olan ve kapak çökmesi diye adlandırılan sorunun çözümüne ve eşik sisteminin iyileştirilmesine yönelik yapılan bu çalışmada yapım teknikleri gözden geçirilerek yapım aşamalarında da kolaylıklar getirmeyi amaçlamıştır. Uygulanabilir eşik sistemi yüksek ses kapasitesine sahip gitar ve ud gibi enstrümanlardaki ses mantığıyla aynıdır. Bu mantık, kapak üzerine yapıştırılan eşik, bulunduğu yer dolayısıyla bir balkon görevi görerek l.ve 5.harmonikleri güçlendirir. Genel tim gücünde artıcı bir etken teşkil etmektedir. Yine tel çıkışlarının ses tablosu üzerindeki eşikten olması, tellerin ürettiği tel enerjisini eşik üzerinde toplayarak, az kayıpla ses tablosuna (kapak) ileterek ses tablosunu güçlü bir titreşime geçirmektedir. Bombeli (oyularak) kapak sistemiyle teller tarafından uygulanan basınca karşı daha mukavemetli bir kapak oluşturulmaktadır. Gövde üzerinde açılan ikinci bir ses deliği, icracımn sazın sesini hiçbir kayba uğramadan duymasını sağlamaktadır. Buna bağlı olarak sesin tonunu ve tınısını ayarlama şansı vermektedir. Bu çalışmalar tarafından yapılan örnek bağlama üzerinde gösterilerek detaylarıyla incelenmiş örnek bağlama jüri üyelerine sunulmuştur.

A New application on the bridge system of Bağlama Bağlama is one of the basic stringed instruments of Turkish folk music since it's been developed 2000 years ago. In these years folk music has developed by stringed instruments. Some people say the father of stringed instruments is kopuz (played by medieval Turkish bords). Lute-like instrument means that in includes stringed instruments which has more than one string. It's known that some kind of lute-like instruments are long and short or with handle as well as others playing by hand and bow. This instruments has made of animal skins, hairs and intestines in primtive circumstances. Bğlama has been in various evoluations and named differently until todate. Stringed instruments has changed continiously and differen methods applied for its performance form. There are various of views about why it is called as Bağlama the most known is that prest are tied to its handle. Its string number have been increased, method of manufacturing and also it's use of areas and aims has been developed todate. The view of its made has changed since it's been used for different aims. The Bağlama which has made in Anatolia shows different form according to areas and the people who are making different kind of Bağlama for their life style and special purposes. Until to the last years Bağlama, has developed in master apprentice relationship but any scientific has not done for it working environments are ready now for the new developments by opening instruments making departments in concervatories recently. Bağlama has reahed its standart situation by our lecturer. Mr. Cafer AÇIN in İ.T.Ü Convervatory, Traditional Turkish Music Dept. PARTS OF BA?LAMA:, 1-Body 2- Handle and Pegis 3- Cover (forward pard and sound table) 4- Bridges 5- Begs 6- Frets 7- Strings. Pressure produced by the strings upon Bağlama creates a problem called cover collapse in time. This condition leads way to other negative effects. - Because of the tension created on the cover, the intensity of sound decreases and the sustain of sound reduces when the vibration of cover is reduced. - Performance becomes harder as the strings becames highes in time. VI In order to demolish these negative effects on Bağlama, the strength on the cover has to be raised. While doing this, one should bee keen on keeping Bağlama' s authencity of sound color. Without altering the intensity of its sound. The convex cover system placed on Bağlama eliminates the most of the problems. This system lets the tension magnify as it is used in the same sense it is adapted to same musical instruments like violin, cello that has higher pressure. The convex cover system reduces the pressure on the cover by disseminating the tension applied by the strings on the bridge zone to the sides of the sound table. So vibration increase and also more sound is maintained. This cover is appropriate to apply the new bridge system that targets to increase the sound capacity. This is maintained by transfering the vibration created by strings to sound table with minimal loss, and also it makes the cover resonates much more easily. On traditional bridge system, most of the string energy is absorbed by the body because the starting point of strings has been placed on the body. Because of its nature, body is not suitable to create sound. That's why, it doesn't have any contribution to sound. As a result of evaluation of the defaults mentioned above, subject matter bridge system is placed on the sound table. By doing so, an enourmous vibration energy has been created for the sound table. The bridge on the over is 7 cm width and Brazilian jacaranda is recommended as a wood. At the some time, the bridge also plays a hormonic bar role. Sinusoidal waves formed formed in the sound table supports to increase the first and the fifth harmonics and maintains the prime sound sustain. The sound post on the body effects the fundamental resonance frequencey of the air in the body. The intonation hole that I have on the top of the body intents to ensure the performer to adjust the sound clor and tone for creating more sufficient and comfortable performance. As a result, the player can hear all harmonics easily.