İç Anadolu bölgesi türkülerimizin Türk musikisindeki makamsal karşılıkları
The meaning of centre Anatolian regions songs in terms of the tunes in Turkish musiki
Yazar: SÜLEYMAN KOYUNCU
Danışman: YRD. DOÇ. CENGİZ ÜNAL
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü
Derece: Yüksek Lisans, 2001
Konu: Müzik = Music
Dizin: Makamlar = Modes ; Türk halk müziği = Turkish folk music ; Türk sanat müziği = Turkish art music ; Türküler = Folk songs ; İç Anadolu bölgesi = Central Anatolia region

Özet:
"İç Anadolu Bölgesi Tünerimizin Türk Musîkisindeki Makamsal Karşıkklan" adlı bu çalışmanın yapılmasındaki amaç bu bölgedeki türkülerin makamsal melodik yönden incelenmeye değer, Önemli bir yapıda olmasından kaynaklanmasıdır. Bu sebeple bundan sonraki araştırmacı ve akademisyenlere daha bilimsel boyutlar çerçevesinde ve akademik anlayış hudutları dahilinde ışık tutacak bir eser ortaya çıkmıştır. Bölgede İcra edilen Uzun Hava türünde ve Bozlak Formunda pek çok Makamsal dörtlü ve beşliyi bünyesinde bulunduran bu mükemmel ezgiler gerçekten incelenmeye değer bir yapıdadır. Çalışmamızda daha ' -? çok sözlü Kırık Havalar incelenmiştir. Bu Kırık Havalar; Halay, Ağıt, Zeybek, Kol Havası, Sürmeli, Mengi ve Samah gibi bir çok formlardan oluşmaktadır. İncelenen Türkülerin ezgisel yapısı cümle cümle incelenerek Türk Sanat Musîkisindeki hangi dörtlü ve beşlilerden oluştuğu, varsa geçkileri tespit edildi. Böylece Türkünün hangi dizi ya da dizilerden oluştuğu bu dizilerin T.H.M, T.S.M'deki adlan, ezgide tespit edilen ses aralıkları ve aralıkların kullanım sayılan bir tablo halinde, türkü türkü belirtilmiştir. Türküler; İç Anadolu Bölgesinin farklı yörelerinden makamlanna göre gruplandınlmıştır. Bu sayede İç Anadolu'nun değişik yörelerinde aynı makamdaki türkülerin, melodik yapısındaki dörtlü ve beşlilerin, geçkilerin, ses arauklanmn kuUanım^seyri ve farkhhklan daha kolay anlaşılacaktır. Bu çalışma, bundan sonra yapılacak olan, bu ve buna benzer bilimsel akademik anlamdaki diğer çalışmalara ışık tutacaktır.

Abstract:
This work titled The Analysis of melodies and tunes of Central Anotolian folks " Puts forward the artistic and scientific meaning of originality of folks. The aim of the so colled work is to put the works of the Turks on an academik side and scientific basement. By this way, the interest, knowledge and the addiction of the people in Central Anatolia will be understand more. We will find opportunity to learn the magnifrcient artistic works of bards most of whom are think They are meterate, even they don't have any musical education. "Abdal Türkmenleri" who affected Turkish socrol historical life, music and dance, which is thought to have five thousands of history, took a great importance or role. Having an interview with the people in this region we saw that they are highly devoted themselves to Hünkâr Hacı Bektaşî Veli and these made a pschological affect on the enemy by their wooden swords, heroic couplets and dances in front of the army. Even the people in this region prasied these performers as their idols. When we look at Abdullah Yegin's book titled "Yeni Lugat" and according to its A.E.M items Abd : means : slave, creature or maid. Al : means person. Ebdal ": mean more than saint. A person who gained spiritual features. A group of saints. In Arabic language it means the person who deals with the works of people official. It means the person who lost himself in believing God. The subject of Abdals in The Central Anatolia reguires a specific investigation. The folk melodies which are produced in Central Anatolia emerges in tree melodies or kinds When we look at in T.R.T's repertory. 1 - One of these is "Kırık Havalar" Halaylar, Ağıtlar, Zeybekler, Kol Havaları, Sürmeliler, Mengiler and like many of these forms. 2 - Uzun Havalar, Bozlaklar, Mayalar, Ağıtlar 3 - Yan Serbest Havalar Çiçek Dağı ( Flower Mount ), Biter Kırşehir'in Gülleri Biter (Grows up the Roses of Kırşehir Grows up ) Keklik ( Gray partridge ) Mehrali Bey, Giden Ay Tutulur mu? ( Can the Moving moon be held ) and Ali Dağ Derler Dağların Hası etc. can be said. We consentrated our studies in the so colled region, in Niğde, Sivas, Konya, Çorum, Kayseri, Yozgat, Eskişehir, Kırıkkale - Keskin, Kırşehir, Nevşehir, Afyon, Ankara, Çankırı ve Aksaray. İt is recognited that in the these regions, folk tunes, have more than one piece of melody and rhytm. vmFor example, the piece that collect from deceased M. Ertaş which is colled " Başında Altın Tacım" folk tunes, in "ağırlama" port 4/4 style and a inici Karcığar line high pitched ( tiz ) symmetric part, in the Gerdaniye note and with Buselik Çeşnisi when we are wolking around these tunes in Muhayyer notes have given with Uşşak Çeşnisi and it is resulted in Karcığar me. In Hoplatma part 2/4 style "Muhalif Ayağı" it is decited with Segah line. Furthermore, Sivas folks which is produced in Sivas region is formed by many different parts. In conclusion of folks which is from central Anatolia, consists of "Ağırlama, Yeldirme, Hoplatma" etc It can be seen that many parts of these folks are colled by many names and different characteristic of dance figures. And religious features like Samah Styles. Samahs are especially played in same special places where they are live. We can come across many lament kinds.the most interesting is the one which we recognited in Niğde. Colled " Mihrali Bey". İt is a Yarı Serbest ezgi ( semi - free styles ). İt is already present in this region that where are many melodies in T.S. Musiki like dörtlü or beşli ( Fourth or Fifth ) which come together and produce or a nem type colled "Bozlak" and it is very wide spread. İt is recognized in the collections and research octave there is a moving part ( Seyir Sahası ). They do not call the artist as a bard who can not sing Bozlak Style. The most important tradition in Bozlak is that the person who sings and plays is the same person. The Band ( Saz ) the lyric ( güfte ) can not be performed by the same person. They are especially The Abdal Turkmen s who use their bands and voices proffesionalry. In the first part with all these studies once tried to show the geographical situation of Central Anatolia and its folkloric structure. In the second part the importance of "Türkü" form. In turkish folk music has been explained. After all these information we can pass to the part three which form its basis. In part three the recognized types of folk songs. 1 - Kırık Havalar 2 - Serbest Havalar ( types ) 3 - Yarı Serbest Havalar are classified under these titles. It is produced that the notations which are present in the T.R.T. repertory is taken, the sentences used in the the Melodies; the recognition of lines of Melodies its name in T.H.M. its eguivalent in T.S.M. If there is "Geçki" and "Çeşnisi" and the intervals which is reconized in these melodies, and the names and the usage numbers of these intervals. In addition, to these the T.R.T. notation of researched folk songs are given with its analysis, and in the other parts of this region it is presented that the folk songs contains the same specialities, rhytm, melody and intervals, usage numbers, differences of movements in its structure. The result of these researched folk songs is analyzed. İn this part it is anolyzed that the free melodies which are accepted as mosterpiece is colled "Bozlaklar" and it is loved by people in this region. "Bozlaklar" are researched by the video cassettes of adorned by people deceasd M.Ertaş, H.Taşan and living legend Neşet Ertaş known as Bozkırın Tezenesi. The researched Bozlaklar tunes are performed with fourth and fifth geçkili movements. In addition to these many Yarı Serbest ezgiler ( Semi Free Melodies ) seen in the region a part whish are used as playing music is anolyzed with this method which is explained above In the fourth pert there are the photos of the famous people in the region. Furthermore in Nevşehir Hacı Bektaş Museum there are the so called photos. In the fifth part the list of the pictures reseaeched under the name of folk songs. It is shown as a picture. Finally, in this study the result and recomments, foundations and bibliographies are also present.