Kastamonu yöresi aşık musikisi tür ve biçimleri /
Yazar: SÜLEYMAN ŞENEL
Danışman: DOÇ. FİKRET DEĞERLİ
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü
Derece: Sanatta Yeterlik, 1992
Konu: Müzik = Music
Dizin: Aşık musikisi = Lover music ; Kastamonu = Kastamonu

Özet:
Tarih boyunca, siyasi ve idari merkezlerden biri elan Kastamonu, aynı zamanda, âşık sanatının sıkı sıkıya yaşatıldığı önemli bir kültür merkezidir. Ne yazık ki günümüzde aşık sanatı, bu yöremizde son temsilcileriyle birlikte yok olmuştur. Bu çalışma, yaklaşık çeyrek asır önce son temsilcilerini yitiren Kastamonu ve yöresinin aşık sanatını ve asık fasıllarında icra edilen türlerini açığa çıkarmak amacıyla hazırlanmıştır. Bu haliyle, arşiv materyallerine dayalı bölgesel bir araştırma hüviyetindedir. Çalışma, genel olarak iki büyük baslık altında ele alınmıştır, önce, ülkemizde yaşatılan âşıklık geleneği ve musikîsinin ana hatları tespit edilmeye çalışılmış; Kastamonu yöresi aşık sanatıyla olan münasebetleri belirlenmiş ve daha sonra da Kastamonu yöresi aşık fasıllarında icra edilen türlerle bu türlerin biçimleri incelenmiştir. Konular, musıkî acısından değerlendirilmekle beraber edebi yönden de gözden geçirilmiş ve aşık sanatında, edebiyat-musıkî münasebeti bir kez daha ortaya konmaya çalışılmıştır. Bu çalışma, ayrıca, günümüz araştırmacılarına, yurdumuzda günden güne tükenen aşık sanatının, zaman geçirilmeden araştırılarak gelecek kuşaklara kazandırılması mesajını iletmeyi de amaçlamaktadır. -vııı-

Abstract:
Aşıks' Art wnich wa happened to learn mars 3Dcut after the 16th century is a compact instution with its own policy, manners, traditions and kept alive with master-apprentice relation up to our time in our country. In this institution the way wnich A?iks are grown up, their way of competing, "fasils" their musical performance and their musical and vocabulary usage during the performance have been strictly made conspicous and it has been carried from the past to the future as a mastery which has its own programme, manner, vocabulary and music which cannot be left behind as the most necessary component existing in this mastery. On the other hand, movements, mimics and esthetic values are also important factors to keep this mastery alive. A=-iks' Art which had a big struggle to exist during the period of industrialism is squeezed in some regions and facing a danger to be ruined as it has lost its last representatives. We can also say that this tradition has come. to on end with the last representatives and Kastamonu is one of those regions which has lost its last representatives during the last quarter of this century. Kastamonu, which has always been one of the politi cal administrative headquarters during the history is also a cultural-center which has closely kept this mastery. On the other hand, we can only talk about the ruins of this tradition and this thesis could only be prepared with the help of some untidy materials from some archives to exhibit this tradition. -ft!This thesis has got a regional idoncicv. ncuqr zr-s thesis nas auch an identity, we <\ava rir-u t.- u :.VJ c... :;.... cne main priıicıpais of this erudition aiiu 5,30 1 "_ "t i,;uj:: and the effective factors with deduction system and trsir statues in this art have been fixed by comparison, Afc?r that the types which have been performed in Kastamcrj. Ajiks' F351 L and their varieties have been studied. In order to verify these kinds Varieties in Folk Li terature and Folk Music have been studied as a different part and the main elements which make this kinc clear- have been fined. According to the results supplied from this part it can be accepted that specialities which are related to musical forms don't effect Aşıks' music directly. Literary forms and particularities are also very important. These forms don't necessarily have the same structures in common. To make these forms clear we should first talk about four factors like 5 form, metre, style, manner, conversing on a subject, competition, vocal dueling (competing face to face) and phonetic element and elements related with the explanation. Meanwhile, ethnic and regional distinctnesses and the order of the tunes which are performed during Açık Fası Is should also be mentioned. The variety of skills which are kept alive in Kasta monu ares Reliogious Cerenomy Types, Arabic Metre Types and Syllable Metre Types and these three forms compose different parts of Açık Fası Is. We have also tried to mention the traditional per formance forms and conceptions like Usta malı (Common lyrics and tunes), Açık tarzı (Asık style), Asık agzı(A=.ık dialect), Tegannî (singing), Tegannî'de insâd (Layingout the lyric to a song with a known tune) have been explanied and ayak kavramı (foot-conception), Public dialect, Asık dialect have been mentioned in order to show the importance of Asiks' Art.Fi est ;; f :ur.j; psrfc.'îieo m l'.astamcnu jrs veca ı ?xc;îpt Tor taksim ( In 3 tu-nenta ; improvı ??jaticn ; snd açış.v Opening/ Instrumental improvisation i tunes. vocal tunes are sung with the lyrics of Aşıks poems apart from a few exceptions- In vecal works, both Arabic metre and syllable metre are used. The types which Arabic metres are used are Religios Ceremony Types and Classic Fasıl Types- Poems whicn are used to be sung in the Arabic metres are mostly in couplets meanwhile they can also appear in tne farm of "Murabba" which is oaseo on four- lines and "Muhammes" which is based on five lines. Religions Ceremony Types which are based on Arabic metres: Münâcât, Nâ't, Mersiye and Methiye. These are performed in free ryhme and in Kaside forms. Arabic metre types are Peşrev, Dîvân, DestGr, Semai, Kalenderi, Sat ranç and Vezn-i Aher. Classic Fasıl Types are sung with Arabic metre poems as well as syllable metre poems or with the poems that give you the feeling that they are written in the Arabic form though they are written in syllable metre form. Syllable metre types, form the oldest and the most important style in the Art of Aşıks' and they are the real examples of Aşıks' music. Syllable-metre types contain tunes which are mainly based on folk-stories and poems that sung freely. The main syllable metres and tunas which are used in Kastamonu Aşıks' Art are i Kosma, Tunes Based on Folk Stories, Yıldız, Semai, Mâni, Destan, Tekerleme and Taslama. Most of these forms are in the form of Kosma. These have the type particularities according to the way tney are performed and usage of the metre. In Aşıks' music in the Region of Kastamonu different music forms can be noticed. They differ in Arabic metre and syllable metre forms. Feet (Ayaklar) are not alike as they have charactarestic differences with the lyrics... t -X»MArabic.rn=zr.i iyrics ah J s/ Hacla mecra Lyrxcs. in qenerai ^*a can say >;nat musical styles can be r armed accaruing to their literary structures. üne of the subjects of this thesis is the relation between A=.rk Fası İs af Kastamonu Region and Semai Cof fee- Houses (Semai Kahveleri) and Musical Cof fee-Houses (Çalgılı Kahveler) af istanbul and the music which is performed in these places. The elements which have been searched (first of all the close-relation of -tunes which take part in Fasıl, m style, farm and order rules in the Fasıl, their similarity in manner and performance etc. ) between the two regions' Asiks" Art and the prababl culture exchange between the two, show us the dimensions of this cultural exchange and this, also faced us with the element of a prababl centralisation in the Ottoman Empire and the art of Hulks' which develop in these lands. However we have also tried to search the differences and similarities of A-=.iks' Music and Folk Music while studying these subjects. -XIV-