Türk müzik kültüründe mey ve meyin icrâ karakteristiklerine yönelik tespitler
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Dosyalar
Tarih
2023
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Mey, Türk müzik kültüründe üflemeli çalgılar arasında Anadolu’nun belirli yörelerinde yaygınlık gösteren ve tarihi itibariyle köklü çalgılardan biridir. Araştırmada, çeşitli medeniyetlerin süzgecinden geçerek günümüze kadar ulaşan meyin tarihsel sürecinin ortaya koyulması, organolojik yapısının incelenmesi, Türk halk müziği içerisindeki yöresel aidiyetinin belirlenmesi, icrâ tekniklerinin belirlenmesi, geleneksel icrâ karakteristiklerinin tespit edilmesi ve bu karakteristiklere yönelik öğretici nitelikte ezgi/motif oluşturulması amaçlanmıştır. Araştırma bu yönüyle, günümüzde bağlama, kaval, kabak kemane vb. halk çalgıları kadar bilinirliğe sahip olmayan ve hakkında yeterince araştırma yapılmayan meyin, gelecek kuşaklara aktarılması, tanınması ve icrâcılarına katkı sağlaması bakımından önem arz ettiği düşünülmektedir. Araştırma nitel araştırma yöntemlerinden genel tarama modeli kullanılarak yürütülmüştür. Doküman inceleme tekniğiyle toplanan veriler, betimsel yönden analiz edilmiş ve yorumlanmıştır. Araştırma sonucunda, meyin tarihsel süreçte günümüze ulaşmasıyla ilgili bazı kaynaklarda sürekli tekrar edilen ve doğruluğu hakkında yeterince araştırma yapılmayan dayandırmaların ortadan kalktığı ve Antik Yunan’a kadar uzanan bir geçmişinin olduğu; meyin organolojik yönden; kamış (kamış kısımlarını oluşturan kamış ağzı, boğaz ve boğum kısmı) kıskaç, ağızlık, kamış eki ve gövde gibi beş kısımdan oluştuğu, meyin kültürel ve yöresel aidiyeti bağlamında; Doğu Anadolu bölgesinde Erzurum başta olmak üzere Bayburt, Gümüşhane, Kars, Erzincan yörelerinde ve Sivas, Malatya, Elâzığ, Tunceli yörelerinde icrâ edildiği, söz konusu yörelerin müzik kültürünün çalgının icrâ üslûbuna ve icrâ tavırlarına yön verdiği, icrâ tekniklerinin nefes, çene ve dudak aracılığıyla ve el yardımıyla yapılan teknikler olmak üzere tasnif edildiği sonucuna ulaşılmıştır. Ayrıca tespit edilen tekniklerin adlandırılmasında Türkçe ifadeler kullanılarak nota üzerinde gösterimine yönelik özel simge ve işaretler geliştirilmiş, uygulanabilirliğinin arttırılması için her teknikle ilgili alıştırma ve örnek eserler hazırlanmıştır.
Mey is one of the wind instruments in Turkish music culture, which is widespread in certain regions of Anatolia and has a long history. In the research, it is aimed to reveal the historical process of mey, which has survived to the present day through the filter of various civilisations, to examine its organological structure, to determine its regional belonging in Turkish folk music, to determine its performance techniques, to determine its traditional performance characteristics and to create an instructive melody/motif for these characteristics. In this respect, the research is considered to be important in terms of transferring mey, which is not as well known as folk instruments such as baglama, kaval, kabak kemane etc. and about which not enough research has been done, to future generations, recognising it and contributing to its performers. The research was conducted using the general survey model, one of the qualitative research methods. The data collected by document analysis technique were analysed and interpreted descriptively. As a result of the research, it is concluded that the bases, which are constantly repeated in some sources about mey's reaching to the present day in the historical process and whose accuracy has not been sufficiently researched, have been eliminated and that it has a history dating back to ancient Greece; In terms of organological terms, mey consists of five parts such as reed (reed mouth, throat and throat part forming the reed parts) clamp, mouthpiece, reed attachment and body, in the context of mey's cultural and regional belonging; It has been concluded that mey is performed in the Eastern Anatolia region, especially in Erzurum, Bayburt, Gümüşhane, Kars, Erzincan regions and Sivas, Malatya, Elâzığ, Tunceli regions, that the music culture of these regions directs the performance style and performance attitudes of the instrument, and that the performance techniques are classified as techniques performed with the help of breath, jaw and lips and with the help of hand. In addition, Turkish expressions were used in the naming of the identified techniques, special symbols and signs were developed for their representation on the note, and exercises and sample works were prepared for each technique in order to increase its applicability.
Mey is one of the wind instruments in Turkish music culture, which is widespread in certain regions of Anatolia and has a long history. In the research, it is aimed to reveal the historical process of mey, which has survived to the present day through the filter of various civilisations, to examine its organological structure, to determine its regional belonging in Turkish folk music, to determine its performance techniques, to determine its traditional performance characteristics and to create an instructive melody/motif for these characteristics. In this respect, the research is considered to be important in terms of transferring mey, which is not as well known as folk instruments such as baglama, kaval, kabak kemane etc. and about which not enough research has been done, to future generations, recognising it and contributing to its performers. The research was conducted using the general survey model, one of the qualitative research methods. The data collected by document analysis technique were analysed and interpreted descriptively. As a result of the research, it is concluded that the bases, which are constantly repeated in some sources about mey's reaching to the present day in the historical process and whose accuracy has not been sufficiently researched, have been eliminated and that it has a history dating back to ancient Greece; In terms of organological terms, mey consists of five parts such as reed (reed mouth, throat and throat part forming the reed parts) clamp, mouthpiece, reed attachment and body, in the context of mey's cultural and regional belonging; It has been concluded that mey is performed in the Eastern Anatolia region, especially in Erzurum, Bayburt, Gümüşhane, Kars, Erzincan regions and Sivas, Malatya, Elâzığ, Tunceli regions, that the music culture of these regions directs the performance style and performance attitudes of the instrument, and that the performance techniques are classified as techniques performed with the help of breath, jaw and lips and with the help of hand. In addition, Turkish expressions were used in the naming of the identified techniques, special symbols and signs were developed for their representation on the note, and exercises and sample works were prepared for each technique in order to increase its applicability.
Açıklama
Yüksek Lisans Tezi
Anahtar Kelimeler
Mey, Organoloji, Yöre, İcrâ, İcrâ Teknikleri, Mey, Organology, Region, Music Performance, Music Performance Techniques
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Kukul, U. (2023). Türk müzik kültüründe mey ve meyin icrâ karakteristiklerine yönelik tespitler. (Yayımlanmamış yüksek lisans tezi). Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü Türk Müziği Anabilim Dalı, Konya.
