ÇENG ÇALGISININ SELÇUKLU SERAMİKLERİNE YANSIMASI
Küçük Resim Yok
Tarih
2018
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Tarihsel müzikoloji, yazılı tarihi kaynaklar kadar, geçmiş dönemler hakkında ipuçları barındıran her türlü materyalden faydalanır. Araştırılan döneme ilişkin resim, heykel, mimari eserler gibi seramikler ve seramik dekorları da tarihsel müzikolojinin araştırma alanına girer. Bilhassa Büyük Selçuklulara ilişkin pek çok eser ve yazılı kay-nağın tahribata uğradığı göz önünde bulundurulduğunda, bu seramiklerle günümüze taşınan bilgileri okumak, daha da önemli olmaktadır. Günümüzde kullanımı son derece azalmış olan, ancak Türk müzik tarihinde mi-lattan önceki dönemlere kadar takip edebildiğimiz “çeng”in Selçuklu seramiklerinde yer alma durumuna ilişkin gerçekleştirdiğimiz bu araştırmada, dünyadaki çeşitli müze ve koleksiyonlardan edinmiş olduğumuz Selçuklu seramiklerinde yer alan çeng çalgıla-rı tespit edilmiştir. Çalışmanın sonucunda, Selçuklu dönemi çenglerinin açık ve köşeli arplar sınıfına dâhil, kasnağı işlemeli ve farklı burguluk özelliklerine sahip bir çalgı olduğu görülmüştür. Çalgının incelenen dönemde son derece popüler olduğu, sıklıkla kadınlar tarafından icra edildiği, hükümdarın da bulunduğu eğlence sahnelerinde tek başına ya da ud, tef gibi diğer çalgılarla birlikte yer aldığı tespit edilmiştir.
Historical musicology uses every kind of materials which have information on the past as well as manuscript resources. Not only pictures, sculptures, architectural elements which belong to the period investigated, but also ceramics and ceramics decors are included in ? eld of historical musicology. Speaking of destruction of various works and manuscripts of Great Seljuq’s, these ceramics have utmost importance. Çeng playing is not common in these days but we can see it in Turkish music history from before Christ periods. This research, based on investigation on museums and collections in all the world, have been detected Seljuq ceramics which have çeng instrument and have been investigated and evaluated this instruments structure, features, playing areas and musicians. As a result of the studies, it has been determined that the çeng was an angular and open type instrument with inlaid boat and di? erent types of tuning pegs in Seljuq period. It has been found that the çeng was extremely popular in the period studied and often performed by women. It has been found that in the entertainment scenes in which the monarch was also present, it was played alone or with other instruments such as oud, tef, mostly by women.
Historical musicology uses every kind of materials which have information on the past as well as manuscript resources. Not only pictures, sculptures, architectural elements which belong to the period investigated, but also ceramics and ceramics decors are included in ? eld of historical musicology. Speaking of destruction of various works and manuscripts of Great Seljuq’s, these ceramics have utmost importance. Çeng playing is not common in these days but we can see it in Turkish music history from before Christ periods. This research, based on investigation on museums and collections in all the world, have been detected Seljuq ceramics which have çeng instrument and have been investigated and evaluated this instruments structure, features, playing areas and musicians. As a result of the studies, it has been determined that the çeng was an angular and open type instrument with inlaid boat and di? erent types of tuning pegs in Seljuq period. It has been found that the çeng was extremely popular in the period studied and often performed by women. It has been found that in the entertainment scenes in which the monarch was also present, it was played alone or with other instruments such as oud, tef, mostly by women.
Açıklama
Anahtar Kelimeler
Tarih, Arkeoloji
Kaynak
Belleten
WoS Q Değeri
Scopus Q Değeri
Cilt
82
Sayı
293
