Harput yöresine ait muhalif eserlerin müzikal analizi
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Tarih
2012
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Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Araştırmada Harput yöresinde Muhalif olarak adlandırılan eserlerin müzikal analizini yaparak eserlerin durağını, güçlüsünü, seyrini, perde isimlerini, usulünü tespit etmek ve söz konusu eserlerin Türk Klasik Müziğindeki makamlar ile ilişkisini ortaya çıkarmak amaçlanmıştır. Harput yöresine ait Muhalif eserlerin; Segâh perdesinde karar verdiği, güçlülerinin neva perdesi olduğu, perde sayılarının en az 6 en fazla 12 olduğu, 4/4' lük Sofyan, 3/4'lük Semai, 10/8'lik Aksak Semai ve serbest usûllerde yazıldığı tespit edilmiştir. Söz konusu eserlerin Türk Klasik Müziğinde genel olarak Segâh makamını karşıladığı, ancak bazı eserlerin Hüzzam makamı ile örtüştüğü görülmüştür. Eserler anonim olup makam kaygısı taşınmadan ortaya çıktıklarından makamın bütün özelliklerini tam anlamıyla sergileyemedikleri ancak dizi olarak Segâh ve Hüzzam makamları dizileriyle benzeştikleri sonuçlarına ulaşılmıştır.
In the study it is aimed to perform a musical analysis on musical pieces, so-called Muhalif in the Harput region, to determine the tonic note, powerful note, progress, tone names, and style and to reveal the correlation between the said musical pieces with the modes in Turkish Classical Music. It is found out that Muhalif musical pieces ofHarput region ends on the tone Segâh as the original ending tone, takes the tone Nevâ as powerful tone, the number of tones is minimum 6 and maximum 12, and are written in rhythmic patterns of 4/4 Sofyan, 3/4 Semai, 10/8 Aksak Semai and in free rhythmic pattern. It is observed that, in general, the said musical pieces correspond to the musical tone of Segâh in Turkish Classical Music whereas some correspond to the musical tone of Hüzzam. It is concluded that since the musical pieces are anonymous and since they were created without any concern on musical tones, they do not fully demonstrate all of the features of that musical tone; however, they are similar to the musical tones of Segâh and Hüzzam.
In the study it is aimed to perform a musical analysis on musical pieces, so-called Muhalif in the Harput region, to determine the tonic note, powerful note, progress, tone names, and style and to reveal the correlation between the said musical pieces with the modes in Turkish Classical Music. It is found out that Muhalif musical pieces ofHarput region ends on the tone Segâh as the original ending tone, takes the tone Nevâ as powerful tone, the number of tones is minimum 6 and maximum 12, and are written in rhythmic patterns of 4/4 Sofyan, 3/4 Semai, 10/8 Aksak Semai and in free rhythmic pattern. It is observed that, in general, the said musical pieces correspond to the musical tone of Segâh in Turkish Classical Music whereas some correspond to the musical tone of Hüzzam. It is concluded that since the musical pieces are anonymous and since they were created without any concern on musical tones, they do not fully demonstrate all of the features of that musical tone; however, they are similar to the musical tones of Segâh and Hüzzam.
Açıklama
Anahtar Kelimeler
Sosyal Bilimler Tarihi
Kaynak
Fırat Üniversitesi Sosyal Bilimler Dergisi
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Cilt
22
Sayı
1
