Bağlama repertuvarının ı̇nşasında geleneksel eserler, çalgısal uyarlamalar ve besteleme çalışmaları üzerine genel bir bakış
An overview of traditional music works, instrumental adaptations and composition works in the construction of baglama repertoire
Yazar: KORAY ATEŞ
Danışman: PROF. CİHANGİR TERZİ
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Performans Ana Sanat Dalı / Çalgı-Ses Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Müzik = Music

Özet:
Bu çalışma; bağlamanın çalgısal repertuvarını oluşturan bileşenleri anlamak ve bu bileşenlerin bağlama icracılığında ne gibi etkilerinin bulunduğunu açıklayabilmek amacı ile yapılmış bir yüksek lisans tez çalışmasıdır. Çalışma içerisinde ilk olarak çalgısal repertuvarın oluşum süreci açıklanmaya çalışılmış ve bu bağlamda farklı çalgılardan örnekler verilmiştir. Daha sonrasında konu ile ilgili literatür taranmış ve bağlamanın çalgısal repertuvarı ile ilgili yapılmış olan çalışmalar örnek edisyonları ile ele alınmıştır. Bu doğrultuda, bağlama repertuvarının sınıflandırılmasında izlemiş olduğumuz yol haritası ortaya çıkmıştır. 
Öncelikle bağlamada kullanılan farklı akort biçimleri bünyesinde yer alan ve bağlamanın kendi repertuvarını oluşturan eserlerin tespit edilmesini amaçladık. Burada eserlerin TRT bünyesinde yer alan notası ile aynı eserlerin farklı bağlama icracıları tarafından yapılan yorumları karşılaştırılmıştır. Eserlerin yorumlarında ilk olarak kaynak kişlerden notaya alınmış edisyonlara ulaşılması amaçlanmıştır. Böylelikle eserlerin yorumlanmasında, dönemsel olarak ve icra yaklaşımları bakımından ne gibi farklılıkların bulunduğu açıklanmaya çalışılmıştır. Bu bölümde ayıca bağlamanın kendi çalgısal repertuvarının nasıl oluştuğuna dair de bir açıklama yapılmaya çalışılmıştır. 
Sonrasında bağlama repertuvarı çerçevesinde uyarlama çalışmaları incelenmiştir. Burada ilk olarak bağlamanın kendisinin içinde bulunduğu halk müziği geleneğinde yer alan çalgılardan yapılan uyarlamalar ele alınmış ve genel bir tablo oluşturulmaya çalışılmıştır. Repertuvar içerisinde büyük bir yeri olan halk çalgılarından yapılan uyarlamalarda etkili olan nedenler ulaşılan bilgiler doğrultusunda açıklanmaya çalışılmıştır. 
Bu bölümün ardından ise uyarlamaların diğer ayağını oluşturan makamsal Türk müziği içerisinden yapılmış olan uyarlamalar ele alınmıştır. İcracıların yorumlamış oldukları eserler, kayıtlar üzerinden notaya aktarılmıştır. Ek olarak bağlama metotları incelenmiş ve konu ile ilgili yapılmış olan çalışmalardan örnekler verilmiştir. Ayrıca bu bölüm çalışmamızın ana omurgasını oluşturmaktadır. Makamsal Türk müziği içerisindeki eserleri bağlama icracılarının yorumlamasına sebep olan etkenler araştırılmıştır. Bununla birlikte yapılan uyarlamaların bağlama icrası üzerinde ne gibi etkilerinin olduğu açıklanmaya çalışılmıştır.
Bu bölüm içerisinde ayrıca uyarlama çalışmaları çerçevesinde Türkiye harici coğrafyalardan bağlamaya yapılmış olan aktarımlar incelenmiştir. Dokümanlara ulaşırken dijital platformlar ve bağlama metotları incelenmiştir. Ayrıca burada, tek bağlama ile yapılan icraların yanı sıra iki ve üç bağlama ile yapılan icralara da örnekler verilmiştir. 
Son bölümde ise bağlama için üretilen eserlerin repertuvardaki yerinden söz edilmiştir. Yapılan çalışmalar sonucu elde edilen tablolara ek olarak 31 eser ilave edilmiştir. Bu bölümde bağlama için eser üretimine etki eden sebepler açıklanmaya çalışılmıştır. Bestecilerin eser üretiminde ne gibi yollar izlediği ve nelerden etkilendiği üzerinde de durulmuştur. 
Çalışmanın ekler bölümünde ise çalışma sürecinde kesitler halinde metne serpiştirimiş olan ilgili eserlerin notaları tam halleri ile verilerek konu ile ilgilenen icracı ve araştırmacılara hazır nota sunulması amaçlanmıştır.

Abstract:
This study is a master's thesis which aims to explain the components of the instrumental repertoire of the bağlama and the effects of these components on bağlama performance.
 Bağlama is one of the most widely used instruments in Turkish folk music. For this reason, it also has an important representation role in the music culture in which it takes place. The bağlama, which is seen in a large part of Turkey's geography, varies in different sizes, number of frets, number of strings, playing styles (with and without plectrum/hand), tuning systems and repertoire according to the regions. In this respect, this instrument, which has a wide instrument family structure, has been attributed different values in the regions where it is found. The vocal-instrumental structure of Turkish folk music also determines the usage area of the baglama in this music. During the performance of the music, bağlama has an important place in the instrument accompaniment phase, which is used in a structure that strengthens the expression of the lyrics. This situation causes the works with lyrics to have a large place in the bağlama repertoire. For this reason, it first came to the forefront not with its instrumental features, but as an accompaniment instrument in the transmission of oral culture.
The repertoire of an instrument is an important indicator for the instrument to present itself and to show its performance limits and possibilities. The repertoire also plays an important role in the international acceptance of instruments. Each instrument has different values and repertoire locally within its own culture. It is seen that the development of the instrument repertoire generally takes place in the same way for different instruments. The playing styles developed by the performers who perform their instruments at the level of mastery, adaptations made from different instruments, compositions made for the instrument create a wide literature on behalf of the instrument over time and constitute an important source for the instrument to represent itself. While developing its own instrumental repertoire, the bağlama instrument went through similar stages as other instruments and started to shape its own instrumental repertoire. This situation continues rapidly today.
The Republic of Turkey, which was established after the Ottoman Empire, brought Turkish folk music to the forefront in the context of nation state approach and music policies. Firstly, Turkish folk music musical works were started to be recorded with the compilation studies that started in 1925-1926. This situation is also an indication that the baglama started to create its repertoire. Because the repertoire of the Yurttan Sesler Topluluğu, which was established within TRT and was the first stage of the inclusion of Turkish folk music in an institutional structure, was formed through compilation studies.
With the Yurttan Sesler Ensemble, the bağlama was included in an institutional structure and assumed the most important role in this ensemble. At first, the performances performed only with the bağlama led to the development of the bağlama repertoire. With the performance of folk songs from other folk instruments in the repertoire, the bağlama started to exceed the limits of its repertoire in local music. In addition to folk songs taken from folk instruments, folk dances from different regions are also performed on the bağlama, leading to the development of different playing styles on the bağlama. These adaptations to the bağlama are not limited to the development of playing styles. In addition, the reasons such as playing the works belonging to different regions in bağlama performance and performing works from different tones have also caused structural changes such as lengthening the handle of the bağlama and increasing the number of frets. In this respect, the repertoire not only developed but also affected the structure of the baglama.
Master bağlama performers have an important place among the sources affecting the bağlama repertoire and performance. Their playing styles, performance approaches and repertoires, which they developed coming from folk music tradition, have influenced many performers. In addition, these performers performed vocal-instrumental works only instrumentally in order to meet the need for instrumental repertoire. In addition, they also performed folk dance music with bağlama. These performers, who reflected their own performance approaches on the works during their performances, had a great influence on the bağlama repertoire.
With the rural-urban migration that started in Turkey after the 1950s and accelerated in the following years, the people who migrated also brought their own cultures to the cities. Reasons such as moving the bağlama to the city, entering an institutional structure with the Yurttan Sesler Topluluğu, opening conservatories and finding a place for the bağlama there, and the use of the bağlama in the city music market have caused music genres other than folk music to encounter the bağlama. In this context, the first music genre that bağlama performers were influenced by was modal Turkish music. Due to the effects of these encounters and negative perspectives towards the bağlama in urban music culture, performers have adapted Turkish music works for the bağlama. While this expanded the instrumental repertoire, it also brought about many changes in bağlama performance.
In the instrumental repertoire of the baglama, the performers were not only influenced by Turkish music. They have also performed the music of countries in nearby geographies outside the borders of Turkey with baglama. In this context, due to our cultural and geographical proximity, many works from Azerbaijani music were adapted to the baglama. In addition, adaptations were also made from music genres both in our near geography and in our distant geography.
These developments in the bağlama repertoire have also improved the bağlama performance. With the developing bağlama performance, the performers performed the adapted works within their own performance approaches. In addition, the adapted works were performed not only with a single bağlama but also with more than one bağlama. The performers also added small sections to the adapted works that were not included in the original work.
One of the most important parts of baglama instrumental repertoire is the works composed for baglama. Reasons such as the limited availability of instrumental works in the repertoire and the performers' desire to convey their own musical tastes and musical ideas bring the performers to the stage of producing works for the baglama. In their compositions, performers reflect their performance approaches, the playing techniques they have developed and the musical styles they are influenced by. In addition, works composed for two or three baglama, works composed for baglama ensembles and works composed for educational music are also included in the repertoire. In addition, composers make use of different sizes of baglama, different tuning systems and different playing styles when producing works for the baglama.
All the situations mentioned above are effective in the formation of the instrumental repertoire of the baglama. When the studies on the instrumental repertoire of the baglama are analysed, it is seen that the repertoire is generally studied in sections.
One of the reasons for the emergence of our study is to deal with the instrumental repertoire of the baglama in a comprehensive manner. For this purpose, the instrumental repertoire is tried to be explained more clearly.
Firstly, the formation process of instrumental repertoire was tried to be explained and examples from different instruments were given. Afterwards, the literature on the subject was reviewed and the studies on the instrumental repertoire of the baglama were analysed. In this direction, the road map we followed in the classification of the bağlama repertoire has emerged.
First of all, it was aimed to identify the works in different tuning forms used in the bağlama and which constitute the bağlama's own repertoire. Here, the notation of the works in TRT and the interpretations of the same works made by different bağlama performers were compared. In the interpretations of the works, it was aimed to reach the recording of the source person first. In this way, the differences in the interpretation of the works were tried to be explained periodically and in terms of performance approaches. In this section, it is also tried to explain how the bağlama creates its own instrumental repertoire.
Then the adaptation studies were analysed within the framework of the bağlama repertoire. Here, firstly, adaptations made from the instruments in the folk music tradition, including the bağlama, were analysed and a general picture was tried to be formed. The reasons that are effective in the adaptations made from folk instruments, which have a great place in the repertoire, were tried to be explained in line with the information obtained.
Following this section, the adaptations made in modal Turkish music, which constitutes the other part of the adaptations, were discussed. The works interpreted by the performers were notated through the recordings. In addition, bağlama methods were analysed and examples from the studies on the subject were given. In addition, this section constitutes the main structure of our study. The factors that cause bağlama performers to perform the works in modal Turkish music were investigated. In addition, the effects of the adaptations on the bağlama performance were tried to be explained.
In the next section, adaptations made to the bağlama from geographies other than Turkey within the framework of adaptation studies are analysed. In this section, digital platforms and bağlama methods were analysed while accessing the documents. In this section, examples of performances made with two and three baglama as well as performances made with a single baglama are given.
In the last section, the place of the compositions produced for bağlama in the repertoire is mentioned. In addition to the tables obtained as a result of the studies, 31 compositions were added. In this section, the reasons affecting the production of compositions for bağlama are tried to be explained. In addition, it is also emphasised what kind of methods composers follow in the production of works and what they are influenced by.
In the appendices section of the study, it is aimed to contribute to the literature by giving the full versions of the works notated during the study.