Çeşnilerin transpoze icrasında perde kullanım tercihleri ve frekans analizleri
Frequency analysis and pitch preferences in transpose çeşnis perform
Yazar: FATİH SEYİRDALI
Danışman: PROF. EREN ÖZEK
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzik Teorisi ve Kompozisyon Bilim Dalı
Derece: Yüksek Lisans, 2022
Konu: Müzik = Music
Dizin: Frekans analizi = Frequency analysis ; Makamlar = Modes ; Müzik = Music ; Müzik aletleri = Musical instruments ; Müzik eserleri = Music works ; Müzik sanatı = Music art ; Transpoze = Transpose ; Ud = Lute ; Çalgılama teknikleri = Instrumentation techniques ; Şed makamlar = Transposition

Özet:
Makam dizilerinin en küçük yapı taşı olan çeşniler, farklı perdeler üzerinde icra edilmektedir. İcra sırasında tercih edilen aralıklar, icra edilen makama, çeşniye,  icracıya göre değişiklik göstermektedir. İcrada değişkenlik gösteren unsurlar, günümüzde müzik araştırmacılarının aktif çalıştığı alanlardan birisidir. Çalışmada, günümüzde yaşayan icracıların müzikal algılarının ve ifade biçimleri transpoze icrada gözlemlenmiştir. İcracının perde/aralık tercihlerini ektileyen faktörler araştırılmış, sonuçların kuramsal çalışmalara veri oluşturması hedeflenmiştir.
Çalışmada rast, uşşak, hüseyni, kürdi, çargah, hicaz ve buselik çeşnilerinin icraları, perdesiz yapısı ile aralık tercihinde sağladığı özgürlük göz önünde bulundurularak ud çalgısı ile yapılmıştır. Çalışmada incelenecek rast, uşşak, hicaz, buselik, çargâh, kürdi, hüseyni çeşnilerinin, kendi ismini taşıyan makamlar içerisindeki kullanım sıklıkları incelenerek seyir listeleri oluşturulmuştur. Seyir listeleri oluşturulurken, incelenen çeşninin farklı perdeler üzerinde bulunması gözetilmiştir. Çeşniler, transpoze icralarının detaylı incelenebilmesi için bolahenk nısfiye, süpürde, kız ve mansur ahenk düzenlerinde icra edilmiştir. Kayıtlar aktif müzik yaşantısı devam eden icracılar ile yapılmıştır. Çalışmaya Doç. Dr. Enver Mete Aslan, Öğr. Gör. Bekir Şahin Baloğlu icracı olarak katılmışlardır. Kayıtlar, kişisel görüşme yöntemi ve çevirimiçi video konferans platformu kullanılarak gerçekleştirilmiştir. İcracılardan Enver Mete Aslan çalışmaya video konferans ile katılmıştır. Bekir Şahin Baloğlu'na ait kayıtlar kişisel görüşme yöntemi ile elde edilmiştir. Frekans analizleri tespitlerinin yapılması için ses kayıtları, parmak, pozisyon, tel kullanımı vb. teknik tercihlerinin gözlenebilmesi için görüntü kayıtları yapılmıştır. Kayıtların frekans analizleri Makam Toolbox programı kullanılarak yapılmıştır. 
Rast, uşşak, hicaz, hüseyni, kürdi buselik, çargah çeşnilerine ait 94 seyir örneği bolaheynk nısfiye, süpürde, kız, mansur ahenklerinde icra edilmiştir. Her icracıdan 4 ayrı ahenkte 376 adet örnek incelenmiş, frekans analizleri yapılmıştır. Frekans analizi yapılan kayıtlar frekans ilişkisine bağlı değişimlerin gözlenebilmesi için oktav aralığı ile icra edilenler ile ahenk düzenine göre icra edilenlerin kendi aralarında karşılaştırmaları yapılmıştır. Elde edilen verilerde çeşnilerin transpoze icrasında perde ve aralık tercihlerinin farklı parametrelerde değiştiği gözlemlenmiştir. Perde tercihlerinin farklılıklarına etki eden unsurlar; icracının müzikal algı/ifade biçimlerinin frekans ilişkisine bağlı değişimleri ve ahenk farkılığına bağlı olarak ud çalgısının pozisyon değişimleri olarak gözlemlenmiştir.

Abstract:
In the traditional meşk method, the master's teachings can only reach the next generations through one-to-one transmission. With the development of sound recording technologies, the teachings and performances of the masters could be recorded and transferred to the next generations. Günümüzde yaşamayan ustalara ait icra kayıtları bugünün sanatçı adaylarına yol gösterici olmaktadır. Technological developments have enabled the production of analysis tools. It has brought with it the production of instruments on the subject in the field of music theory. Frequency analysis method is one of the methods used for this purpose. Today, there are many studies made using recording technologies to analyze the performers. 
In this study, the performances were examined using the frequency analysis method, and the analysis of the interval values used by the performers while performing the çeşnis. For the analysis, rast, uşşak, hüseyni, kurdi, çargah, hicaz and buselik çeşnis were examined. Çeşnis, which are the smallest building blocks that makam scales in Turkish music, are performed on different pitches. For example, rast çenisi is performed on many frets such as yegah, rast, neva, and gerdaniye. The performance equivalents of the pitch and pitch information specified in theory are one of the main topics researched by many musicologists today. The intervals preferred during performance vary from maqam to maqam, from çeşni to çeşni, from performer to performer.
In this study, sound recordings of oud players were used as a sample. For the performances, the oud instrument was chosen considering the freedom it provides in choosing intervals with its fretless structure. The results are evaluated from the perspective of music theory. In the preparatory phase of the study, a field search was made related to the subject, and the resources obtained from the library and online databases (e-publication, article, report, paper) were examined. By examining the studies in the literature, the suitability and reliability of the sources were evaluated. For the study, observation, personal interview, examination and research methods and qualitative and quantitative research methods were used equally.
In the preparatory phase, the frequency of use of rast, uşşak, hicaz, buselik, çargâh, kurdi, hüseyni çeşnis in the maqams bearing his name was examined. Taxim lists were created within the designated authorities. While creating the watch lists, it was taken into account that the çeşnis examined were on different pitches. For example, it is ensured that rast flavor is performed in rast tone in yegah, neva, rast and gerdaniye frets. 
In order to examine the transpose performances in detail, the çeşnis were performed in the harmony patterns of bolahenk nısfiye, süpürde, kız and mansur. Performances in different harmonies were helpful in observing the effects of frequency changes, finger usage preferences, and open-closed string usage on pitch preferences.
The recordings were made with the performers who have an active musical life. Enver Mete Aslan and Bekir Şahin Baloğlu participated in the study as performers. Recordings were made using the method of personal interviews with the performers. During the interviews held on the online video conferencing platform, the necessary permissions were obtained from the performers and audio and video recordings were taken. Frequency analysis of sound recordings, video recordings of the performer's finger, position, string usage, etc. made to observe the technical preferences.
The performers performed the taxim lists created in seven maqams in bolaheynk nısfiye, süpürde, kız and mansur harmonies, respectively. The performers announced each çeşni they were going to perform with their maqam and pitch names. The audio recordings obtained after the interview were classified according to the performer-harmony distinction. The çeşnis performed were rearranged using the DAW program and arranged as a separate audio file. Each edited sound file is named according to the pitch / maqam - performer - harmony order in which the flavor is played. The flavors were combined according to the pitch they were performed and recorded as a single sound file. Frequency analyzes of the recordings were made using the Makam Toolbox program. The numerical data of the obtained values are given in terms of Holder coma, and the analyzes of full quartets and quintuplets are made on the basis of the Arel Ezgi Uzdilek system. In order to examine the records in the study, the tool described in detail in Bozkurt, Gedik, Savacı, Karaosmanoğlu, Özbek (2010) was used. The mentioned tool was developed for automatic notation of Turkish Music recordings and automatic recognition of maqams, and was realized using Matlab. The tool makes improvements over the existing algorithms in the literature for fundamental vibration frequency analysis by using various filters. It can measure the level of harmony between theory and execution by obtaining fundamental frequency distributions.
Enver Mete Aslan and Bekir Şahin Baloğlu performed 94 taxim examples of the çeşnis of rast, uşşak, hicaz, husseyni, kurdi buselik, and çargah in the harmonies of bolaheynk nısfiye, süpürde, kız, mansur. 376 samples from each performer in 4 different harmonies were examined and frequency analyzes were made. In the analyzes made, the change in pitch preferences during the trance performance of the çeşnis was investigated.
In the data obtained, it was observed that pitch and interval preferences of flavors in the transpose performance changed in different parameters. Factors affecting the differences in pitch preferences are changes of the performer's musical perception/expression depending on the frequency relationship, position changes of the oud instrument depending on the harmony difference.
The changes of the performer's musical perception/expression forms depending on the frequency relationship were examined comparatively by selecting the performances on the frets that are octave of each other. While the position changes of the oud instrument were examined due to the difference in harmony, the harmony patterns of bolahenk nısfiye-kız harmony and mansur and süpürde harmony were examined comparatively because they show the same characteristics in terms of position preferences. In the results of the comparative analysis, changes less than 1 Hc were considered as similar pitch preferences, and 1 Hc and larger changes were evaluated as different pitch preferences.
When we look at the results of the analysis in general, it has been observed that the changes in the performances in the lower regions of the flavors performed with the octave range are more than the changes in the treble regions. However, no change was observed in the same parameters in both of the performers. 
When the çeşni analysis results are examined according to the octave relations, the change rates obtained when analyzed according to the position relations were compared, and the amount of change in the octave range and the pitch preferences in the performance was determined relatively more.
It has been determined that the change in pitch preferences in performances with octave range and position difference in performances of kürdi çeşni is realized at a low rate. In hicaz flavor performances, it has been determined that the octave spacing and the difference in position and the pitch preferences in the performances occur at a high rate.It was observed that the pitch preferences between the 1st and 2nd degrees in Rast flavor performances did not change in both performers.
It has been observed that the changes in pitch preferences intensify in Aslan's performances in the süpürde and mansur harmony order, while the changes in the pitch preferences intensify in Baloğlu's performances in the Bolahenk nısfiye and kız harmony order. It has been determined that the use of open strings and closed strings differs due to the different tuning systems preferences of the performers. This situation has brought about the change in pitch preferences from a technical point of view and the concentration of the changes in different harmonies.
In the results obtained in the study, it was observed that the pitch preferences of the çeşnis changed in the transposed performances. It is thought that examining the factors affecting the change in pitch preferences of flavors in transposed performances, investigating the elements in the performer's pitch understanding will be beneficial, and analyzing the pitch preferences of master performers in detail with advanced methods will make an important contribution to the field.