Müzik ve Sahne Sanatları Fakültesi Yayın Koleksiyonu
Bu koleksiyon için kalıcı URI
Güncel Gönderiler
Öğe Gelenekten popülerliğe “Yağmur Yağar” türküsü örnekleminde Türk müziğinde çokseslilik(Sakarya Üniversitesi, 2024) Yıldız, Filiz; Türkmen, UğurThe preservation and transmission of tradition to future generations is seen as an important goal of professional music education. Within a versatile and multi-dimensional education system, the implementation of new and different approaches, taking into account contemporary changes and developments, especially technology, is frequently observed. It is believed that the exchange of ideas, criticism, suggestions, and discussions on the performance practices of our traditional music always remains relevant. It is known that polyphony in Turkish music culture has a history of approximately 200 years. Discussions and exchanges of ideas about the methods and approaches by which traditional music should be polyphonized continue, especially in institutions that provide professional music education. Polyphony is encountered not only in amateur, general, and professional music education but also in the performance practices of folk songs in popular culture. The productions of performers who are not formally trained composers but who have all the technical knowledge and skills required by their profession, sometimes consciously, sometimes unconsciously, and focused on auditory perception, are also among the main topics of idea exchanges. When it comes to polyphony in Turkish music, besides well-known names such as Kemal İlerici, Ahmet Samim Bilgen, Hüseyin Saadettin Arel, Veysel Arseven and Yalçın Tura, it is also observed that lesser-known figures like music teacher İbrahim Selman Coşgun or prominent composers in popular culture like Ergüder Yoldaş have their approaches. During the performance of our folk songs, polyphonic practices are encountered, especially due to the natural structures of the instruments. In this study, the performance practices of the folk song “Yağmur Yağar” are examined on the basis of polyphony, specifically focusing on traditional Turkish folk music bağlama artist Mustafa Hisarlı, who plays the three-stringed instrument and is also from Kütahya; Veli Yöntem, an academician providing professional Turkish folk music education; İbrahim Selman Coşgun, a music teacher who has provided general music education in Kütahya for many years; and Hüseyin Turan, an artist who has made a name for himself in popular culture. In this qualitative study, which examines the four different performance practices of the folk song, a descriptive method was used, archival research and content analysis were conducted, and the obtained data were analyzed according to qualitative techniques. © 2024 The Author(s).
