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The Turkish folk music is grouped into two by its structure which consists
of "Uzunhava" and "Kirikhava" and by its melodical forms
consisting Instrumental and Vocal.
Uzunhava:
It is a recitative tune sung in the free form on a certain melodical line.
Although, generally, it is sung by a single vocalist, it is, also performed
by the duo-singers, the tunes of which express the nostalgia.
As for their melodically styles which differ from region to region, they take
the forms what are called as Maya, Bozlak, Hoyrat, Divan, Yol Havasi, Gurbet
Havasi, Yayla Havasi etc.
Maya:
The most striking part in Maya is the text beside its special kind of melody.
It is sung in 4-line couplets written in 8+3=11 syllabic mater. They are a kind
of Uzunhava sung in the eastern Anatolia. Mayalar hava other kinds like "Düz
maya, "cilgali maya,"
Bozlak:
It is a kind of Uzunhava which is performed in an area that stretches from
the western part of the Eastern Anatolia out to the western Anatolia.
They are composed of 4-line couplets inter-connected. Bozlaklar hava other
kinds like Avsar Bozlagi, Türkmen Bozlagi, Bulanik Bozlagi etc.
Hoyrat:
It is a kind of Uzunhava which is popularly performed in the province of Erzurum,
Urfa, Elazig, Diyarbakir in the Eastern Anatolia and by Turks in the Kerkük
and Erbil provinces which are with the frontiers of Iraq.
They have too many kinds as far as their melodies are concerned, which are
known as Muhalif, Düz, Besiri, Mazan and Yolcu. One thing is common in them
and that is the Cinasli Mani, a form of singing.
Cinas means the "Pun" which makes listeners feel emotional. Let's
take the word "yar", for example.
It means both "Sweet-heart" and Cliff. It is also the imperative
mood of the verb yarmak, for example:
Yar içerden,
Kes bagrim, yar içerden
Gözüm kapida kaldi,
Çikmadi yar içerden
Divan:
Although they are the poems written in the models of failatün, falatün, failatün,
failün of Aruz, a poetic meter in the Arabic language, later on, folk poems
became known as Divan which are written and sung by a special melodical line
and by 15-model syllabic mater.
Today, they are all called Divan, since the poems of the poets who used the
Aruz Meter, have been compiled in an anthology which is called a Divan. Although
the kinds Kalenderi, Semai and Müstezat differ in poetic form and melody, they
are all known as Divan (Example Notation No: 32)
Kirik Hava:
It is a kind of tune which moves on a certain melodical line. They have other
kinds like Zeybek, Bengi, Güvende, Bar and Horon depending on what kind of atmosphere
and now they are sung. The Turkish folk songe rather the tunes are grouped into
two: the instrumental and the vocal.
The Instrumental Tunes (GÖK):
They are tunes in the form of a Kirik Hava and a Uzun Hava which are played
with one or more musical instruments, not in the company of vocal music.
Oyun Havalari, Pasrevlet, Güres Havalari, Cirit Havalari and the Uzun Ayaklari
(Zemin, Temel, Yol Gösterici melody) are the Kirik Hava kinds of instrumental
tunes.
The tunes known to be with the names of Köroglu, Kerem, Garib, Lavik, Delal,
Gezal and Karakoyun which narrate the life-stories of various folk heroes, are
played with wind-instruments for the reason that the wordings of them might
have been forgotten by the passage of time. They are the Uzun Hava types of
the instrumental tunes.
The Vocal Tunes (YIR):
They are the tunes which are solely performed vocally in the folk poetic forms
whether or not they are accompanied by musical instruments.
The most popular form in the vocal folk tunes is, after the "Bent"
models, Baglanti (Nakarat, Kavustak, Dönderme) and this is called türkü. Türkü,
in general, tells us about a subject and is consists of Bents which are inter-bound,
in meanings.
1st Stanza Hüseynik'ten çiktim sehir yoluna
Can agrisi tesis etti koluma
Yaradanim merhamet et kuluna
Baglanti-Yazik olduk yazik su genç ömrüme
Bilmem su felegin bana cevre ne
2nd Stanza Telgrafin didekleri sayilmaz
Ati hanim baygin düsmüs ayrilmaz
Böyle canlar tenesire konulmaz
Baglanti-Yazik oldu yazik su genç ömrüme
Bilmem su felegin bana cevri ne
3rd Stanza Lütfü gelsin telgrafin basina
Bir tel çeksin musulda kardasima
Bu gençlikte neler geldi basima
Baglanti-Yazik oldu yazik su genç ömrüme
Bilmem su felegin bana cevri ne
The above-written Türkü is about the death of Mr. Akif, a young postman, when
he was trapped and killed by his enemies. Pleading God's mercy by Akif, distress
felt over the death incident in such a young age, deep sorrow felt by his friends
like Ati Hanim, communal sense of pity, Akif's occupation and all that are plainly
narrated in the Türkü.
The productions of the Turkish folk music are shaped up by the natural conditions,
the climate, the geographic specialities, their way of living, the socio-economic
and cultural structures. For this reason, different folk tunes are produced
in different regions of Anatolia which represent varied characteristics.
For example, the people who deal with fishing in the northern Anatolia, the
people who does animal husbandry and, finally, the Central Anatolian people
who are occupied in agriculture have produced music but each being different
in the expression of tunes in their structure of melodies.
The tunes of the regions which were, once, the cradle of the Anatolian civilisations
are different from those of the places which have developed in technique, agriculture
and industry.
Another popular kind is the form which is obtained by Mani Dörtlükleri.
There is no unity of expressiveness in them.
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