THE STRINGS SEPARATION TECHNIQUE IN BAGLAMA

Erkan Çanakçı; Mahir Mak

Makale detayları

THE STRINGS SEPARATION TECHNIQUE IN BAGLAMA

Yazarlar:

Erkan Çanakçı | Mahir Mak

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

Müzik

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 106, pp.1-25

Belge Tipi:

Makale

Yayın Tarihi:

3/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001295529

pISSN:

1306-8253

Anahtar kelimeler:

Özet:

 In this study, firstly, the journey of kopuz, which is accepted as the ancestor of the baglama family towards todays geography is mentioned. In addition to the change experienced by the kopuz, which has emerged in a rich range as baglama family in Anatolia, innovative initiatives applied in the baglama family are also included. Thus, we have tried to underline which baglama we should talk about. Then, the written methods on baglama and instruments with 6 and 7 strings, which are now described as baglama short and long necked and played in baglama and disordered tuning, were examined. The baglama, which was accepted to be played by hand tapping or playing without a plectrum, began to be played with a plectrum over time, far ahead of its performance with tapping. The baglama performances with tapping, which were recalled after 1980s, have become much more developed and widespread today. The string separation technique, which has been taken into consideration since 2003, actually brought together the traditional performance form of tapping and plectrum technique. Erkan Çanakçı tried to find an answer to the need for harmony in folk music with traditional playing methods by blending these two techniques without disturbing the traditional structure of baglama. During the maturation process of the article, resources related to the field of study were accessed with the document analysis method, it has been applied to different age groups who have learned the strings separation technique since 2003, concerts and recordings have been made in various platforms and performance areas. In addition, a special transcription showing this technique was prepared and presented in the article.

 In this study, firstly, the journey of kopuz, which is accepted as the ancestor of the baglama family towards todays geography is mentioned. In addition to the change experienced by the kopuz, which has emerged in a rich range as baglama family in Anatolia, innovative initiatives applied in the baglama family are also included. Thus, we have tried to underline which baglama we should talk about. Then, the written methods on baglama and instruments with 6 and 7 strings, which are now described as baglama short and long necked and played in baglama and disordered tuning, were examined. The baglama, which was accepted to be played by hand tapping or playing without a plectrum, began to be played with a plectrum over time, far ahead of its performance with tapping. The baglama performances with tapping, which were recalled after 1980s, have become much more developed and widespread today. The string separation technique, which has been taken into consideration since 2003, actually brought together the traditional performance form of tapping and plectrum technique. Erkan Çanakçı tried to find an answer to the need for harmony in folk music with traditional playing methods by blending these two techniques without disturbing the traditional structure of baglama. During the maturation process of the article, resources related to the field of study were accessed with the document analysis method, it has been applied to different age groups who have learned the strings separation technique since 2003, concerts and recordings have been made in various platforms and performance areas. In addition, a special transcription showing this technique was prepared and presented in the article.

 In this study, firstly, the journey of kopuz, which is accepted as the ancestor of the baglama family towards todays geography is mentioned. In addition to the change experienced by the kopuz, which has emerged in a rich range as baglama family in Anatolia, innovative initiatives applied in the baglama family are also included. Thus, we have tried to underline which baglama we should talk about. Then, the written methods on baglama and instruments with 6 and 7 strings, which are now described as baglama short and long necked and played in baglama and disordered tuning, were examined. The baglama, which was accepted to be played by hand tapping or playing without a plectrum, began to be played with a plectrum over time, far ahead of its performance with tapping. The baglama performances with tapping, which were recalled after 1980s, have become much more developed and widespread today. The string separation technique, which has been taken into consideration since 2003, actually brought together the traditional performance form of tapping and plectrum technique. Erkan Çanakçı tried to find an answer to the need for harmony in folk music with traditional playing methods by blending these two techniques without disturbing the traditional structure of baglama. During the maturation process of the article, resources related to the field of study were accessed with the document analysis method, it has been applied to different age groups who have learned the strings separation technique since 2003, concerts and recordings have been made in various platforms and performance areas. In addition, a special transcription showing this technique was prepared and presented in the article.

 Bu çalışmada ilk olarak, bağlama ailesinin atası olarak kabul edilen kopuzun günümüz coğrafyasına değin süren yolculuğuna değinilmiştir. Anadoluda bağlama ailesi olarak zenginleşerek karşımıza çıkan kopuzun yaşadığı değişimin yanı sıra, bağlama ailesinde yapılan yenilikçi girişimlere de yer verilmiştir. Böylelikle, esasında hangi bağlamadan söz etmemiz gerektiğinin altı çizilmeye çalışılmıştır. Ardından, bugün artık bağlama kısa ve uzun saplı olarak nitelenen, bağlama ve bozuk düzende çalınan 6 ve 7 telli sazlar üzerine yazılı metotlar incelenmiştir. El ile şelpe veya mızrapsıztezenesiz çalındığı kabul edilen bağlamanın, zamanla mızrapla çalınmaya başlanması, şelpe ile icrasının çok önüne geçmiştir. 1980lerden sonra yeniden hatırlanan şelpe ile bağlama icraları, günümüzde çok daha geliştirilerek yaygınlaşmıştır. Bu yaygınlaşma sürecinde bağlamada çeşitli yapısal denemeler ve yeni çalım teknikleri geliştirilmiştir. 2003 yılı itibari üzerine düşünülen bağlamada tel ayırma tekniği, esasında geleneksel icra biçimleri şelpe ve mızraplı çalım tekniğini bir araya getirmiştir. Erkan Çanakçı, bağlamanın geleneksel yapısını bozmadan, bu iki tekniği harmanlayarak halk müziğindeki armoni gereksinimine geleneksel çalım yöntemleri ile cevap bulmaya çalışmıştır. Makalenin olgunlaşma sürecinde, doküman analiz yöntemi ile çalışma alanı ile ilgili kaynaklara erişilmiş, 2003 yılından bu yana tel ayırma tekniği öğrenen farklı yaş grupları üzerinde uygulanmış, çeşitli platform ve performans alanlarında konserler, kayıtlar yapılmıştır. Yanı sıra, makale içinde bu tekniği gösteren özel bir transkripsiyon hazırlanıp, sunulmuştur.

Makale detayları

THE STRINGS SEPARATION TECHNIQUE IN BAGLAMA

Yazarlar:

Erkan Çanakçı | Mahir Mak

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

Müzik

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 106, pp.1-25

Belge Tipi:

Makale

Yayın Tarihi:

3/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001295529

pISSN:

1306-8253

aglama

Baglama Methods

Selpe

Strings Separation Technique

Kopuz.Bağlama

Bağlama Metotları

Şelpe

Tel Ayırma Tekniği

Kopuz.

Sayı

Makale detayları

Yazarlar: Erkan Çanakçı | Mahir Mak

Yayıncı: Ankara Hacı Bayram Veli University

Ana Başlıklar: Müzik

Dergi: Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 106, pp.1-25

Belge Tipi: Makale

Yayın Tarihi: 3/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001295529

pISSN: 1306-8253

Sayı

Yazarlar:

Erkan Çanakçı | Mahir Mak

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

Müzik

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 106, pp.1-25

Belge Tipi:

Makale

Yayın Tarihi:

3/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001295529

pISSN:

1306-8253