Traditional Tuvan Music And its Representatives Who Carried it To The International Dimension

Altay Toprak

Makale detayları

Traditional Tuvan Music And its Representatives Who Carried it To The International Dimension

Yazarlar:

Altay Toprak

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 24, pp.189-204

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322147

pISSN:

2651-4818

Anahtar kelimeler:

Özet:

 The Republic of Tuva is an autonomous republic located within the borders of the Russian Federation today. It is located on the southern border of Russia, between Novosibirsk and Irkutsk, and borders with Mongolia. Its local people are called Tuvan. The Tuvan people live in the northern part of Mongolia and the western part of the Peoples Republic of China, apart from the Tuva Republic. Due to the geographical location, the Tuvan people living in the Tuva Republic have generally remained relatively closed to the outside world. For this reason, the music culture they have is not known enough by the world. The most important element that makes Tuvan music culture unique is a form of singing called throat singing, which is more specific to the societies living in the Siberian region. This throat singing, called Höömey Khöömei, has different techniques with different names, vocal ranges and innate usage. It is thought that these existing techniques are essentially the reflection of the sounds in nature. Throat singing Khöömei, which emerged by imitating the sounds of nature, became an indispensable part of Tuvan culture over time, and was used both in non-religious folk music and for spiritual and healing purposes in some religious rites Matrenitsky  Friedman, 2012, pp. 111.. These techniques are very old in history, but the Tuvan people, who have been isolated to a certain extent from the outside world, have not been able to show this to the outside world until recently, they have only continued as a tradition that they have continued within themselves. The artist named Kongar-ool Ondar, who grew up in the Tuva Republic after the seventies, took successful steps in order to introduce the Tuvan music culture to the outside world, ensuring that the world was informed about this culture and set an example for the artists who would come after him. When it comes to throat music, Kongar-ool Ondar is one of the first names that come to mind, especially in the Tuva region. Unlike other throat singing artists before him, he has introduced himself and his national music to many parts of the world, especially to western countries, thanks to the many concerts he has given outside of his immediate geography and the projects he has been involved in. In this study, Tuvan music culture and how this culture was introduced to the regions outside the geography of Tuva and Russia were examined. The main purpose of this study is to examine the musical culture of the Tuvan people, to examine the elements that make up it and to bring them to Turkish sources, revealing how familiar the rest of the world is with the Tuvan music culture today compared to the past. In the examinations made for this purpose, mostly Tuvan music culture; instrument, vocal ranges, melody structure, as well as throat music, which is one of the most important parts of this culture and Kongar-ool Ondar, one of the most important people who introduced this culture to the world.

 The Republic of Tuva is an autonomous republic located within the borders of the Russian Federation today. It is located on the southern border of Russia, between Novosibirsk and Irkutsk, and borders with Mongolia. Its local people are called Tuvan. The Tuvan people live in the northern part of Mongolia and the western part of the Peoples Republic of China, apart from the Tuva Republic. Due to the geographical location, the Tuvan people living in the Tuva Republic have generally remained relatively closed to the outside world. For this reason, the music culture they have is not known enough by the world. The most important element that makes Tuvan music culture unique is a form of singing called throat singing, which is more specific to the societies living in the Siberian region. This throat singing, called Höömey Khöömei, has different techniques with different names, vocal ranges and innate usage. It is thought that these existing techniques are essentially the reflection of the sounds in nature. Throat singing Khöömei, which emerged by imitating the sounds of nature, became an indispensable part of Tuvan culture over time, and was used both in non-religious folk music and for spiritual and healing purposes in some religious rites Matrenitsky  Friedman, 2012, pp. 111.. These techniques are very old in history, but the Tuvan people, who have been isolated to a certain extent from the outside world, have not been able to show this to the outside world until recently, they have only continued as a tradition that they have continued within themselves. The artist named Kongar-ool Ondar, who grew up in the Tuva Republic after the seventies, took successful steps in order to introduce the Tuvan music culture to the outside world, ensuring that the world was informed about this culture and set an example for the artists who would come after him. When it comes to throat music, Kongar-ool Ondar is one of the first names that come to mind, especially in the Tuva region. Unlike other throat singing artists before him, he has introduced himself and his national music to many parts of the world, especially to western countries, thanks to the many concerts he has given outside of his immediate geography and the projects he has been involved in. In this study, Tuvan music culture and how this culture was introduced to the regions outside the geography of Tuva and Russia were examined. The main purpose of this study is to examine the musical culture of the Tuvan people, to examine the elements that make up it and to bring them to Turkish sources, revealing how familiar the rest of the world is with the Tuvan music culture today compared to the past. In the examinations made for this purpose, mostly Tuvan music culture; instrument, vocal ranges, melody structure, as well as throat music, which is one of the most important parts of this culture and Kongar-ool Ondar, one of the most important people who introduced this culture to the world.

 The Republic of Tuva is an autonomous republic located within the borders of the Russian Federation today. It is located on the southern border of Russia, between Novosibirsk and Irkutsk, and borders with Mongolia. Its local people are called Tuvan. The Tuvan people live in the northern part of Mongolia and the western part of the Peoples Republic of China, apart from the Tuva Republic. Due to the geographical location, the Tuvan people living in the Tuva Republic have generally remained relatively closed to the outside world. For this reason, the music culture they have is not known enough by the world. The most important element that makes Tuvan music culture unique is a form of singing called throat singing, which is more specific to the societies living in the Siberian region. This throat singing, called Höömey Khöömei, has different techniques with different names, vocal ranges and innate usage. It is thought that these existing techniques are essentially the reflection of the sounds in nature. Throat singing Khöömei, which emerged by imitating the sounds of nature, became an indispensable part of Tuvan culture over time, and was used both in non-religious folk music and for spiritual and healing purposes in some religious rites Matrenitsky  Friedman, 2012, pp. 111.. These techniques are very old in history, but the Tuvan people, who have been isolated to a certain extent from the outside world, have not been able to show this to the outside world until recently, they have only continued as a tradition that they have continued within themselves. The artist named Kongar-ool Ondar, who grew up in the Tuva Republic after the seventies, took successful steps in order to introduce the Tuvan music culture to the outside world, ensuring that the world was informed about this culture and set an example for the artists who would come after him. When it comes to throat music, Kongar-ool Ondar is one of the first names that come to mind, especially in the Tuva region. Unlike other throat singing artists before him, he has introduced himself and his national music to many parts of the world, especially to western countries, thanks to the many concerts he has given outside of his immediate geography and the projects he has been involved in. In this study, Tuvan music culture and how this culture was introduced to the regions outside the geography of Tuva and Russia were examined. The main purpose of this study is to examine the musical culture of the Tuvan people, to examine the elements that make up it and to bring them to Turkish sources, revealing how familiar the rest of the world is with the Tuvan music culture today compared to the past. In the examinations made for this purpose, mostly Tuvan music culture; instrument, vocal ranges, melody structure, as well as throat music, which is one of the most important parts of this culture and Kongar-ool Ondar, one of the most important people who introduced this culture to the world.

 Tuva Cumhuriyeti günümüzde Rusya Federasyonu sınırları içerisinde bulunan özerk bir cumhuriyettir. Konum olarak Rusyanın güney sınırında, Novosibirsk ile İrkutsk arasında yer alıp Moğolistan ile de sınır komşusudur. Yerel halkına Tuvalı adı verilir. Tuva halkı Tuva Cumhuriyeti haricinde Moğolistanın kuzeyi ve Çin Halk Cumhuriyetinin batı bölgesinde de yaşamaktadırlar. Coğrafi konum sebebiyle Tuva Cumhuriyeti içerisinde yaşayan Tuva halkı genel olarak dış dünyaya nispeten kapalı kalmışlardır. Bu sebeple sahip oldukları müzik kültürü dünya tarafından yeterince bilinmemektedir. Tuva müzik kültürünü kendine has kılan en önemli unsur gırtlak müziği throat singing denen, daha çok Sibirya bölgesinde yaşayan toplumlara has bir şarkı söyleme biçimidir. Höömey Khöömei adı verilen bu gırtlak müziğinin birbirinden farklı isimlere, ses aralıklarına ve doğuşkan kullanımına sahip farklı teknikleri bulunmaktadır. Mevcutta olan bu tekniklerin, özünde doğadaki seslerin yansıması olduğu düşünülmektedir. Doğa seslerini taklit ederek ortaya çıkmış olan gırtlak müziği Khöömei, zamanla Tuva kültürünün vazgeçilmez bir parçası olmuş, hem din dışı halk müziğinde sıklıkla kullanılırken hem de birtakım dini ayinlerde, spiritüel ve şifa amacıyla da kullanılmıştır Matrenitsky Friedman, 2012, pp. 111. Bu teknikler tarihçe olarak çok eskiye dayanmaktadır lakin dış dünyadan belli ölçüde izole kalmış olan Tuva halkı yakın zamana kadar bunu dış dünyaya gösterememiş, yalnızca kendi içlerinde devam ettirdikleri bir gelenek olarak süregelmiştir. Yetmişli yıllardan sonra Tuva Cumhuriyeti içerisinde yetişmiş olan Kongar-ool Ondar isimli sanatçı ise Tuva müzik kültürünü dış dünyaya tanıtmak amacıyla başarılı adımlar atarak hem dünyanın bu kültür hakkında bilgi sahibi olmasını sağlamış, hem de kendinden sonra gelecek olan sanatçılara örnek olmuştur. Konu gırtlak müziği olduğunda özellikle Tuva bölgesinde ilk akla gelen isimlerin başında gelir Kongar-ool Ondar. Kendinden önceki diğer gırtlak müziği sanatçılarının aksine, yakın coğrafyası haricinde vermiş olduğu birçok konser ve içinde bulunduğu projeler sayesinde, kendisini ve milli müziğini batı ülkeleri başta olmak üzere dünyanın birçok yerine tanıtmıştır. Bu çalışmada Tuva müzik kültürü ve bu kültürün Tuva, Rusya coğrafyası dışında kalan bölgelere nasıl tanıtıldığı literatür taraması yöntemi aracılığıyla incelenmiştir. Bu çalışmanın temel amacı, Tuva halkının müzik kültürünü incelemek, onu oluşturan unsurları inceleyip Türkçe kaynaklara kazandırabilmek, geçmişe nazaran günümüzde Tuva müzik kültürüne dünyanın geri kalanının ne kadar aşina olduğunu gözler önüne sermektedir. Bu amaç doğrultusunda yapılan incelemelerde daha çok Tuva müzik kültürünün; enstrüman, ses aralıkları, ezgi yapısı, ayrıca bu kültürün en önemli parçalarından biri olan gırtlak müziği ve de bu kültürün dünyaya tanıtılmasını sağlayan en önemli kişilerden biri olan Kongar-ool Ondar üzerine durulacaktır.

Makale detayları

Traditional Tuvan Music And its Representatives Who Carried it To The International Dimension

Yazarlar:

Altay Toprak

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 24, pp.189-204

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322147

pISSN:

2651-4818

: Tuvan music culture

throat singing

Kongar-ool Ondar

folklore: Tuva müzik kültürü

gırtlak müziği

Kongar-ool Ondar

folklor

Sayı

Makale detayları

Yazarlar: Altay Toprak

Yayıncı: Ege University

Ana Başlıklar: Müzik

Dergi: Eurasian Journal of Music and Dance Issue 24, pp.189-204

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001322147

pISSN: 2651-4818

Sayı

Yazarlar:

Altay Toprak

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 24, pp.189-204

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322147

pISSN:

2651-4818