GELENEKSEL TÜRK SANAT MÜZİĞİNDE MAKAM GEÇKİLERİ

Halil ALTINKÖPRÜ

Makale detayları

GELENEKSEL TÜRK SANAT MÜZİĞİNDE MAKAM GEÇKİLERİ

Yazarlar:

Halil ALTINKÖPRÜ

Yayıncı:

Ege University

Ana Başlıklar:

Güzel Sanatlar

Dergi:

Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi 2018 Issue 12, pp.1-11

Belge Tipi:

Makale

Yayın Tarihi:

6/2018

Belge Dili:

Türkçe

Document ID (Org No.):

2000422987

pISSN:

2651-4818

Özet:

 


Turkish music has taken its place in the World music thanks to its richness of

modal music and the rhythm which came from the past to present day. The

pitch system, which has been utilized in Turkish Music has further increased

the modal liveliness. Considering the fact that 628 modes have been created

in Turkish music, it would not be wrong to discuss about an enriched form,

which has constantly been developing between the past and the future. In

addition to the abundance of the modes, the variety of tempo styles ranging

from 2 to 128 intervals adds a distinctive richness to traditional Turkish

music. For a mode to exists and be used by performers, many verbal and

instrumental works must be composed, as well as a sequence of compositions.

The composers have composed works approximately in 100 modes and have

preferred to compose certain modes instead of the recently created ones. In

the same work, however; they used the late technique and many of the same

authorities at the same time. Most of the modes, which have not been

exercised in terms of repertoire, or have been composed scarcely any, has

fallen into oblivion. It is known and practiced by traditional musical

performers that the tradition of intermodulation takes an important place

regarding performance. In addition to spontaneous compositions such

as taksim, na't, kaside and gazel, modulation among modes has been used in

most of the verbal and instrumental genres of traditional Turkish music.

However, the absence of written sources other than a few short texts with

regard to the teaching of modulation constitutes the problematic part of our

article. When the sources of Turkish music have been examined, it is

understood once again that how much that issue has been

neglected. Composers have frequently used modulations in

their compositions to enhance their melodic liveliness and show their talents

as well. That tradition has reached the peak, especially in the form of karı

natık as can be seen at Ahmet Avni Konuk’s “Rast Kar-Natık (Fihrist-

Makamat)” with 119 different modes in it. The issue of modulation has also

been common among composers as well as instrumentalists. Especially in the

form of taksim, modulation has been utilized widespread. Improvisations and

modulations during the intervals of suites, have the utmost importance in

Turkish Music. The instrumentalists have demonstrated their skills by using

improvisation by using modulation, while vocalists have demonstrated their

abilities by using freely performed genres such as gazel, kaside, na’t by

utilizing modulation. This tradition continues today, although it has been less

when compared to the past.

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Makale detayları

GELENEKSEL TÜRK SANAT MÜZİĞİNDE MAKAM GEÇKİLERİ

Yazarlar: Halil ALTINKÖPRÜ

Yayıncı: Ege University

Ana Başlıklar: Güzel Sanatlar

Dergi: Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi 2018 Issue 12, pp.1-11

Belge Tipi: Makale

Yayın Tarihi: 6/2018

Belge Dili: Türkçe

Document ID (Org No.): 2000422987

pISSN: 2651-4818

Sayı

Yazarlar:

Halil ALTINKÖPRÜ

Yayıncı:

Ege University

Ana Başlıklar:

Güzel Sanatlar

Dergi:

Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi 2018 Issue 12, pp.1-11

Belge Tipi:

Makale

Yayın Tarihi:

6/2018

Belge Dili:

Türkçe

Document ID (Org No.):

2000422987

pISSN:

2651-4818