Kavalın değişen performans alanları ve yeniden inşa
Changing performance areas of kaval and rebuild
Yazar: ERSİN GÜNASLAN
Danışman: DOÇ. DR. ZEYNEP GONCA İNCEDERE
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzik Teorisi ve Kompozisyon Bilim Dalı
Derece: Yüksek Lisans, 2022
Konu: Eğitim ve Öğretim = Education and Training ; Müzik = Music
Dizin: Kaval = Shepherd?s pipe ; Müzik = Music ; Müzik aletleri = Musical instruments ; Müzik eğitimi = Music education ; Performans = Performance ; Çalgılama teknikleri = Instrumentation techniques ; Çalgılar = Musical instruments ; Üflemeli çalgılar = Wind instruments

Özet:
Kaval, halkın günlük rutinlerinin içindeki pratikleri ile ön plana çıkarken, aynı zamanda toplumsal ritüellerde de kullanılan bir çalgı olarak karşımıza çıkmaktadır. Bu çalışmada kavalın farklı türleriyle, 19. yüzyıl  Osmanlı İmparatorluğu'ndaki çalgılı kahvehanelerde, erken cumhuriyet döneminin Halkevleri, Köy Enstitülerinde ve musiki cemiyetlerinde, 1950'li yıllardan itibaren ticarileşen halk oyunları piyasası içerisinde, radyolarda ve ticari müzik sektöründeki tarihsel anlatısı ve pratikleri  incelenmiş, performans alanları bağlamında değerlendirilmiştir. 1970'li yıllardan itibaren uluslararası mecralarda icra edilmeye başlanan diyatonik dilsiz kaval, dünya müziği ve arabesk müzik içerisinde yer almaya başlamıştır. Değişen müzik yapısı ve çalgının topluluk içerisinde eşlik edebilecek standardizasyona ulaşmasıyla birlikte kromatik dilsiz kaval radyolarda ve ticari müzik piyasasında icra edilmeye başlanmış, akademide eğitimi verilen bir çalgıya dönüşmüştür.
Çalışmada kromatik dilsiz kavalın sanatsal performans alanına geçişiyle birlikte estetik, sanatsal kaygılar, toplumsal ihtiyaçlar ve endüstriyel yönlendirmeler doğrultusunda geçirdiği değişiklikler belirlenmeye çalışılmıştır. Kromatik dilsiz kavalın akordu, perde düzenleri, farklı akortların sebepleri, malzeme farklılıklarının getirdikleri, horlatma tonunun çalgıyı şekillendirişi, perde açkıları ve genel olarak kavalın standardizasyonu konularında alanında uzman kişilerle görüşmeler yapılmıştır.

Abstract:
Çığırtma, which is a type of kaval, appears in 19th century Istanbul coffee houses. In
the first examples of programmed entertainment, çığırtma performed together with the
clarinet is an element of the entertainment culture. It is noteworthy that it is in a chord
that can accompany the clarinet. The performance of two wind instruments together is
also important since it is not often encountered today. At the same time, there are
narratives in different sources that establish the relationship between çığırtma and
dervish lodge music.
In the field studies of Ankara State Conservatory, many kaval records are encountered.
Although these records cannot be reached, they are important in terms of the role of
the kaval in the cultural rituals of the people. It is seen that the kaval is an
accompaniment instrument especially in rites of transition. It appears as an instrument
that accompanies many plays in eastern provinces. It has been learned that the kaval
was also played at the funerals.
It is seen that the kaval is not just an instrument related to shepherding. In addition to
being played as an element of husbandry in the daily routines of the people, it also has
an important role in cultural rituals.
With the Republic, a policy in which music is reshaped and modernized is observed.
Within the scope of this policy, "Classical Turkish Music", which is seen as Byzantine
music and palace music, was marginalized by the government and folk music was put
in the center. The ideal of putting folk music on a new ground by processing it with
European music is seen. "Halkevleri" emerge as the executor of this policy. Kaval is
an instrument that does not have any other in Halkevleri and is considered appropriate
to be used in music studies in institutions. Traces of the kaval were found during the
studies in Eskişehir, Kırklareli and Adana Halkevi. Although it could not be
determined whether it was in a orchestrate performance or not, the fact that the
government is in the institution that carries out the music policy shows that the kaval
has become institutionalized. It is seen that various Halkevleri participate in the radio
program called "Halkevleri Art and Folklore Hour", in which the cultural works of the
Halkevleri are delivered to the public. In the program where Hasan Şahin from Adana
Halkevi sang melodies with his kaval, Eskişehir Halkevi sang folk songs from
Eskişehir with bağlama and kavals.
It is thought that Ahmet Yukseskses, who is known for playing the kaval in Diyarbakir
and known as the teacher of Celal Güzelses, may have played the kaval in many
performances. In addition, in the photograph of a concert given by the Diyarbakir
Musical Society, a person playing the kaval stands out. This kaval is a diatonic endblown kaval and is important in terms of its performance in the orchestra. Another institution that implements the music policy of the government is the Köy Enstitüleri.
In the Köy Enstitüleri, free distribution of the kaval is encouraged due to its low cost
and being a self-learning instrument. Like Halkevleri, Köy Enstitüleri are official
organizations where kaval is institutionalized.
In the 1940s, the effort to convey all the richness of Anatolia to the listeners on Ankara
Radio draws attention. While singing folk songs from every region of the country, it
is aimed to ensure national unity and strengthen national identity. Many instruments
are added to the baglama in this period and participate in the collective performance.
Dilli kaval performer Necati Başara became the first person to play kaval in Radio.
After Necati Başara, many artists performed kaval on various radios. Dilli kaval seems
to have been institutionalized after Necati Başara's perform.
In the 1950s, the name Dikran Nişan appears in Diyarbakır. Nişan is a kaval maker,
that is famous for the kaval he made. The form of the kavals he made differs from the
other kavals in Anatolia. The kavals it produces are known as "Nişo kavalı". Today,
kaval maker Yaşar Güç produces similar formed kavals. One of the kaval produced by
Nişan was performed by Zülfü Yokuş, who lived in the same period. Yokuş earned his
living by playing the kaval at Ergani Train Station throughout his life. In this sense, it
is an important example of performing in the field of artistic performance.
With the Second World War, there was a decline in foreign tourism in Turkey. The
government of the period, on the other hand, was trying to provide economic benefits
by activating domestic tourism. Many promotional activities were carried out to
stimulate domestic tourism. In the same period, it is seen that universities in Turkey
entered the process of restructuring. In this process, universities aim to modernize.
With the transformation of universities, students have brought their own culture to the
city. They preserved their own culture in village associations and student dormitories
and turned to folk dances as an element of solidarity. Folk dances have become a sector
with tourism policies. Since the 1940s, mass kaval production has been seen in
Erikbelen and Istanbul. These kavals produced are referred to as tourist kaval. It is
seen that the development of the sector directly affects the kaval production.
Kaval appears as an accompaniment instrument in folk dances. Kaval is an element of
cultural performance, while accompanying folk dances, which is the main subject. Ali
Gökçen is an important performer who plays the kaval in folk dance competitions and
on the radio. Ali Gökçen, who plays the diatonic dilsiz kaval, draws attention with his
ability to play the transpose and obtain chromatic sounds. In the 1960s, Hacı Tekbilek
played the kaval in Adana Radio and accompanied many albums in the commercial
music market in Istanbul. Tekbilek, who also plays the kaval in private concerts, settled
in Sweden in the 1970s. He carried the kaval to the international arena with his kaval
performances in world music. In the 1970s, it was determined that kaval was played
for many albums in the commercial music market.
With the post-Fordist production model, stretching and diversification are seen in
production. In the 1970s, this variety gave birth to fusion productions. Music genres
such as world music, Arabesque music and Anatolian-pop are the result of fusion
productions. Newly emerged species have also caused yawning on state radio. In
Istanbul Radio, a stretch and diversification in production can be seen. It is seen that
Mehmet Özbek does something untested and uses the chromatic dilsiz kaval in the
orchestra on the radio. Thus, it is seen that the chromatic dilsiz kaval was
institutionalized and passed into the field of artistic performance.
With the chromatic dilsiz kaval playing on the radio, the demand for the instrument
has increased and it has become a sought-after instrument in the commercial music
market. With the works of Sinan Çelik, it turns into an instrument that is played a lot
in music studios. After its existence in the sector, chromatic dilsiz kaval teaching
started to be given in universities in order to meet the need for performers. Thus, the
chromatic dilsiz kaval passes into the field of artistic performance.
The fact that the chromatic dilsiz kaval became a widely played instrument in the
1980s is the diversification of melodic structures in arabesque music. This change has
strained the capacity of the diatonic dilsiz kaval and increased the need for the
chromatic dilsiz kaval.
It is seen that the chromatic dilsiz kaval turned into an instrument that is practiced and
trained in many institutions of the state, with its transition to the field of artistic
performance. In the 1990s, it is seen that the instrument began to be played as a soloist
and became individualized. In the 2000s, the repertoire of kaval expanded and
changed. In the last ten years, it is seen that the kaval exists as an effective instrument
in modern music compositions.
With the beginning of playing the kaval in orchestra, a standardization process was
started. Tuning studies were carried out in order to perform the instrument in the
tampere system. Plastic materials have been used to increase the durability of the
kaval. Metal rings are fitted to prevent cracking and breakage. Due to the horlatma,
which is the characteristic sound of the kaval, different tones are produced.
Microtonal perforated kavals, which were stated not to exist before 1980, emerged
with professional needs. However, experts stated that tampere kaval is more suitable
for education.
With the standardization of the kaval, two different pitch system emerged. It was
determined that the pitch systems were created with professional needs.
In the study, it was tried to determine the changes that the chromatic end-blown kaval
went through in line with aesthetics, artistic concerns, social needs and industrial
orientations with the transition to the field of artistic performance. Interviews were
held with experts in the field on the tuning of the chromatic end-blown kaval, the pitch
patterns, the reasons for the different chords, the effects of material differences, the
shaping of the horlatma tone, the pitch openings and the standardization of the kaval
in general.