Ordu türkülerinde analiz çalışması /
Yazar: ÇETİN AKDENİZ
Danışman: YRD. DOÇ. DR. AFŞİN EMİROĞLU
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü / Müzik Ana Sanat Dalı / Türk Halk Müziği Bilim Dalı
Derece: Yüksek Lisans, 1995
Konu: Müzik = Music
Dizin: Halk müziği = Folk music ; Ordu = Ordu ; Türk halk müziği = Turkish folk music ; Türküler = Folk songs

Özet:
Bu çalışmamızda, Ordu yöresi halk ezgilerinden sadece il merkezine ait ondört sözlü halk ezgisini tüm yönleriyle incelemeye çalıştık. Birinci bölümde giriş yer almaktadır. İkinci bölümde ise Ordu ilinin tarihçesi, coğrafi yapısı, oyunları ve halk müziği hakkında kısaca bilgiler verilmiştir. üçüncü bölümde ele alman ezgilerde inceleme planından bahsedilmiştir. Bu bölümde ezgilerin notaları "Edebi, ritmik, melodik yapılarının incelemesi ve biçim incelemesi gibi dört ana başlık altında nazari açıklamaları da yapılarak ayrıntılı bir şekilde incelenmiştir. İncelemeler sonucunda ulaştığımız netice şu olmuştur. Ordu ilinin merkezine ait ondört ezginin melodi ve ritmik yönden zengin ve dinamik olduğu görülmüştür.

Abstract:
In this thesis, we have tried to study fourteen folk melodies which belong to Ordu central district and their lyrics in every respect. The first chapter is the introduction part. In the intuduction, we have mentioned about the traditions, habits of the people and their life-styles as folklore has a very wide range. If we conside, the richness and the width of our culture, will soun notice that it maynot be possible to make a idespread study of our folklore in every region since it is a very difficult and time consuming work, every region has its own specialities in its own style, so normally you are expected to study them by observing them in their own place-oney then we can have a wider knowledge on the folklortore of the region. Under the light of these thoughts, lwe belived that in order to supply the unity of our study we should concentrate only on the region of "Ordu" central districk and its folk songs as it will be more practical. Mean while, we believed this study would be a good chance for us as we have been grown up in Istanbul but come from Ordu originally, so we could find better possibilities and have changes there. Since the richress of our folklore is mach wider, it connot be said that the written references have been fixed seriously so for with scientific studies. There are some written matenials and sources on the region of Ordu how ever, but these arenot written academically and systematically. So we have soon noticed the lack off the study on the folk songs on this region and have been ledto this study. We find it useful to mention the way of how to study these folk songs while bringing clearness to them. In our thesis, we will examine the works according to their literary structures melodic structures and trytmic structores and by analyzing their forms. In this study, our terminology will be expressed like this; a) Chopter b) Complete music sentence : A whole with small question and answer sentences. c) Small music sentece : Expressions which make the complete sentence. VISo we say Chopter>Sentence>Small music sentence wlhole analyzing, we have followed the way to express the symbolic expressions as; Chapter= A, sentence = a. In the symbolic expressions, the numbers written below tell us the amount of meas ures, We decided to show them as "Similar Sentences" if the expressions are ewactly the same. If there are only similarities, we used the ewapression "similar" or "twins sentence" and symbolized them as "a" or "b" whele doing these studies, we have tried to enlighten the melodies of the region aas much as possible. Own country has got alot of values which have started to be forgotten and have been gield ağoinst technology and science and we believe these values are expecting to be explomed. This is the reason why we, folk musicions should work continuourly and protect these values which we interited from our ancesetors bay keeping their purity and transfer them to the coming generationsas it is a part of our duty. In the second chapter, we gave information on the geographic structure of Ordu, its Folk dances and music 1- HISTORY OF ORDU : (origin of the name) It hasn't been long since the city has been called "Ordu". The villaga Eskipazar, which is 5 km. on the sount east of the city wed to be called Bayramlı" and before that is used to be çolled "Ordu". Today's city center had been the port of the town and used to be kcalled as "Bucak". On the 18 th century, while Bucak was developing and becoming more popular since it was a port, Bayramlı began to lose its importance and popularity. During this development in 1869 Bucak was given the name Ordu, which was Bayramli's old name and it has kept this name ever since. The historical periods of Province Ordu is contemporary to the Hitifs lived in Kızılırmak curve B.S. 2000 and commenced with Kaşka's which have threatened the nothem border of Hitit States, even that the borders of the area where Kaşka's have located could not be determinated definitely it is assumed that these societies have settled in Sinop, Samsun, Ordu begining from Black Sea Coast northern. 2- GEOGRAPHIC STRUCTURE OF ORDU Terme and Çarşamba districts are on the west and Tokat, Erbaa, Niksar, Reşadiye on the south, Merkez and Bulancak districts of Giresun are on the vneast of the city. Its population is 713.534 (1981) and is so densely populated that there are 1 19 people for every squaremetre and the city is 6.001 km2. a) Mountains Province ordu is a mountainous region. The proportion of mountain reaches to a leves ofg 83,6 % for dispersion according to the face of earth of the mountains located within to province borders are Black Sea Coast Mountains and Karagöl Dağı. The elevation of Boztepe on whose foot Province ordu was located reaches to 450 mts. b) Streams The most important streams in this province are called Melet, Bülbül and Civil. Most of them overflow by the time of severe rains since they are streams originated from high mountains. c) Seas Province Ordu has a coast of 136 km northern at the Back Sea. The avarage sea water treatment is 15,6 °C, maximum 25,8 °C and minumum 7°C. d) Valleys and Plains The natural structure of the province is not suetable to occur valleys generally. Only on the coast and stream edges there are valleys in norrow bands. The agricultural crops obtained from these alluvioned valleys are highly productive. These is no watering problem since it is raining regularly and too much. In these narrow valleys extending trough the coast, corn and potatoes, ryes and oats are cultiviated. The province lands have been sectioned by many larger and smaller valleys. The most known valleys are Melet and Bülbül Stream Valleys. e) Climate In Province Ordu, in the coastal part, a typical Black Sea climate is available. The Black Sea climate is a plenty of rainy climate for every season. It's distinguisshed feature is high temprature avarage and that the summer is hot and winter is mild. No deppressing hot weather appears during summer time. Abundant rains enabled mat a rich plant structure orcured while in the southern part continental climate is available. vm3- FOLK DANCES Ordu is the land of "horon" and "karşımama" dances. These folk dances are seen on the shores. Caucasians do their own folk dances. On the mount tainous parts Halay dances are mostmy done. A nice mixture of all there dances have appeared as "Ordu Karşılaması" and "Metellik" dances. 4- FOLK MUSIC We happen to meet the specialities of both the folk music of a shore city and a moun tainous city in thes region. The first collection of these folk songs was made in 1943 for the state Conservatory in Ankara by on group work composed of M. Sansözen, Halil Bediî Yönetken and Rıza Yetişen, the techmician. The folk songs which have been collected have been recorded is casettes or have been made records of, numbered and been archived. Some of these musicians who have been grown up in this region have made their private collections. In this region, instruments, with plectrum (like divan saza, bağlama or cura) are mostly used. Kemence is mostly used on the shores Dilli Çoban Kavalı ve Dilsiz Çoban Kavak are used. Among percussions, the durum, tanborine, spoon and Zil are used. In the third chapter a plan to examine has been mentioned. In this chapter, there are 14 folk songs and their notations, every song has been examined literarily, according to lyric structures, rhymic structures, melodic structures and form kand given under these headings. The way it has been studied is talkea about in detail in the plan below : 1- Notation of the songs : All the songs that have been sdudied are shown in chapters, sentences, small sentences and with different lettering. 2- Literary Examination of all the songs : In this part lyrics, poetry and uyak diagrams are studied and made. 3- Rhytmic structures of the songs : In this part good donations, tonality, sound range and range specialities are shown on a staff as well as melodic walks, sound lengthenings, melodic IXvariations, sounds which the melody has changed into have been shown to give information to musical structure. 4- Form Examination of the Tures : We have tried to examine the formation of the tunes by exaniining their melodic structure, rhytmic and lyric formations in complete sentences and small sentences then classified according to their sizes, symbolized and grouped mem to come to a resolution. Sentences that are fixed are shown as x,y, z, a, b etc. Questions are shown as "a", responses are shown as "b". If there are ony others different from question or answers, these are shown as c, d, e and other chapters are shown as A, B, C. If there is a meaning unity is melodies, the smallest pasages are called "small sentences". Passages which have at least two or more sentences are called "sentence" and units which are made of "sentences" and "small sentences" are called chopters. In the fourth chapter we come to a conclusion. The points which have been stabilized are: There is a rich, variety in rhythm and timing. There is one work which has seven or eight beats, four works which have four beats, eight works which have nine beats. Theree of the nine beats are in the form of 2+2+2+3 D, the others are in the form of 2+3+2+2 B. So we make a deduction and say that in central Ordu district, timing with nine beats are mostly preferred rhythms and especvially type B is used in this region. Three of the works havi "falling and rising" character and all the other have rising and foiling movement charecter. All of the fourteen melodies from the distric Ordu, which have been examined in our thesis, have rich dynamic structures and formations.