An Analysis of Yorgo Bacanos’ Performance of “Mahur Aranağme”

Mehmet Alişan Budak; Cenk Güray

Makale detayları

An Analysis of Yorgo Bacanos’ Performance of “Mahur Aranağme”

Yazarlar:

Mehmet Alişan Budak | Cenk Güray

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 1, pp.136-146

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322519

pISSN:

2618-5695

Anahtar kelimeler:

Özet:

 The aim of this study is to reveal the theoretical performative elements behind Yorgo Bacanos performance of the aranağme short instrumental passage between verses in Turkish music at the end of the song Gülşen-i Ezhar Açtı Her Yana that he recorded with Hafız Kemal and Sadettin Kaynak. The study first examines preliminary information about Yorgo Bacanos the performer and the musical culture centered in Istanbul. The study then comparatively analyzes the performance of the aranağme and its score in the repertoire using the performance analysis method based on five criteria i.e., pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis. While this textitaranağme has a simple melodic structure in its original score, it is observed to have taken on a very different character in Bacanos performance. With Bacanos strong sense of rhythm and the self-confidence that comes from having mastered the ağır aksak usul a tempo in 94, which is frequently used in fasıl musical overtureseries of compositions in the same maqam performances, he was able to easily diversify the aranağme by using various motifs and practically recomposed it during the performance. By combining his agility in right hand technique with his improvisational skill, Bacanos created a piece that is extremely difficult to perform while at the same time demonstrates his strict adherence to the usul tempo. Bacanos aranağme performance is an attractive example of musical interpretation.

 The aim of this study is to reveal the theoretical performative elements behind Yorgo Bacanos performance of the aranağme short instrumental passage between verses in Turkish music at the end of the song Gülşen-i Ezhar Açtı Her Yana that he recorded with Hafız Kemal and Sadettin Kaynak. The study first examines preliminary information about Yorgo Bacanos the performer and the musical culture centered in Istanbul. The study then comparatively analyzes the performance of the aranağme and its score in the repertoire using the performance analysis method based on five criteria i.e., pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis. While this textitaranağme has a simple melodic structure in its original score, it is observed to have taken on a very different character in Bacanos performance. With Bacanos strong sense of rhythm and the self-confidence that comes from having mastered the ağır aksak usul a tempo in 94, which is frequently used in fasıl musical overtureseries of compositions in the same maqam performances, he was able to easily diversify the aranağme by using various motifs and practically recomposed it during the performance. By combining his agility in right hand technique with his improvisational skill, Bacanos created a piece that is extremely difficult to perform while at the same time demonstrates his strict adherence to the usul tempo. Bacanos aranağme performance is an attractive example of musical interpretation.

 The aim of this study is to reveal the theoretical performative elements behind Yorgo Bacanos performance of the aranağme short instrumental passage between verses in Turkish music at the end of the song Gülşen-i Ezhar Açtı Her Yana that he recorded with Hafız Kemal and Sadettin Kaynak. The study first examines preliminary information about Yorgo Bacanos the performer and the musical culture centered in Istanbul. The study then comparatively analyzes the performance of the aranağme and its score in the repertoire using the performance analysis method based on five criteria i.e., pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis. While this textitaranağme has a simple melodic structure in its original score, it is observed to have taken on a very different character in Bacanos performance. With Bacanos strong sense of rhythm and the self-confidence that comes from having mastered the ağır aksak usul a tempo in 94, which is frequently used in fasıl musical overtureseries of compositions in the same maqam performances, he was able to easily diversify the aranağme by using various motifs and practically recomposed it during the performance. By combining his agility in right hand technique with his improvisational skill, Bacanos created a piece that is extremely difficult to perform while at the same time demonstrates his strict adherence to the usul tempo. Bacanos aranağme performance is an attractive example of musical interpretation.

 Bu çalışmada Yorgo Bacanosun Hafız Kemal ve Sadettin Kaynak ile birlikte kaydettikleri, bestesi Basmacı Abdi Efendiye ait Gülşen-i Ezhar Açtı Her Yana güfteli ağır aksak şarkının sonuna eklediği aranağme icrasının arka planında yatan teorikperformatif öğeleri ortaya çıkarmak amaçlanmıştır. Öncelikle icracı Yorgo Bacanos ve icra edilen müzik kültürü İstanbul merkezli hakkında ön bilgiler derlenmiştir. Sonrasında beş kriter perdeler ve makamsal hatlar, motifik çeşitlemeler, süsleme teknikleri, çalgı pozisyonları ve biçim analizi çerçevesinde oluşturulan performans analizi yöntemi kullanılarak çalışma konusu aranağme icrası ile repertuvardaki notası karşılaştırılarak analiz edilmiştir. Orĳinal notasındaki ezgi yapısı yalın bir karaktere sahip bu aranağmenin, Bacanosun icrası ile çok farklı bir hüviyete büründüğü gözlemlenmiştir. Bacanosun sağlam ritim duygusu ve fasıl icralarında sıklıkla kullanılan ağır aksak usulünü içselleştirmiş olmanın verdiği özgüven ile aranağmeyi çeşitli motifler kullanarak kolaylıkla çeşitleyebilmiş ve performans anında adeta yeniden bestelemiştir. Sağ el tekniğindeki kıvraklığını doğaçlama yeteneği ile birleştiren Bacanos, bir yandan icrası son derece güç bir pasaj oluştururken diğer yandan da usul yapısına sıkı bir şekilde bağlı kalabildiğini gözler önüne sermiştir. Çalışmamıza konu olan performans nota-icra farklılığı konusunda sıra dışı bir örnek teşkil etmektedir.

Makale detayları

An Analysis of Yorgo Bacanos’ Performance of “Mahur Aranağme”

Yazarlar:

Mehmet Alişan Budak | Cenk Güray

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 1, pp.136-146

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322519

pISSN:

2618-5695

Yorgo Bacanos

oud

performance analysis

interpretation

performanceYorgo Bacanos

ud

performans analizi

yorum

icra

Sayı

Makale detayları

Yazarlar: Mehmet Alişan Budak | Cenk Güray

Yayıncı: Istanbul University

Ana Başlıklar: Müzik (Diğer)

Dergi: Konservatoryum Vol.11 Issue 1, pp.136-146

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001322519

pISSN: 2618-5695

Sayı

Yazarlar:

Mehmet Alişan Budak | Cenk Güray

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 1, pp.136-146

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322519

pISSN:

2618-5695