Rast Muzikoloji Dergisi, cilt.11, sa.3, ss.363-394, 2023 (Scopus)
Bu
çalışma, bağlama icrasında ve öğretiminde kullanılan belli başlı tezene
kalıplarının; uygulama alanları, icra teknikleri, usul ve tartım açısından
tasnifi amacıyla hazırlanmıştır. Tarihsel süreç içerisinde bağlama çalgısının
icrasal manada geçirdiği evreler ve tezene icra teknikleri incelenmiştir. Çalışmada
konuya dair kaynak taraması, gözlem ve deneyimler ışığında tezene ile çalım
tekniğine geçiş ile beraber oluşan pek çok farklı tezene kalıplarının oluşum
süreç ve koşulları değerlendirilmiştir. Tezeneli çalım tekniğine geçiş ile beraber
oluşan tezene kalıplarının yöresel kavram ve bölge veya şehir isimleri ile
ifade edilmesinin icradaki uygulama alanları ve icrasal teknik işlevselliği ile
örtüşmediği görülmüştür. Bu tezene kalıpları; uygulama alanları, müziksel
teknik icra niteliklerine ve halk müziği usul yapısına göre yeniden
değerlendirilerek ana tezene kalıpları, birleşik tezene kalıpları ve karma
tezene kalıpları olmak üzere üç sınıfa ayrılmıştır. Temel icra düzeyi, orta icra
düzeyi ve ileri icra düzeyine karşılık gelen sınıflara ayrılarak tasnif edilen bu
tezene kalıpları kendi içinde de ayrıca birinci aşama, ikinci aşama ve üçüncü
aşama şeklinde detaylı bir şekilde tasnife tabi tutularak tablolar halinde
gösterilmiştir. Çalışmada, tezeneli bağlama icra tekniğinde kullanılan mevcut
isimlendirmeler yerine, müziksel icra özelliklerine göre tezene kalıplarının
teknik analizi sonucunda yeni terminolojik isimlendirmeler oluşturulmuştur.
Tezene kalıplarının mevcut isimlendirmeleri ile uygulama alanlarının bölgesel
çeşitliliği ve farklı tür/formlarda kullanılması arasındaki çelişkiye dikkat
çekilerek bu tezene kalıpları alfabetik ve matematiksel veriler kullanılarak
kodlanmıştır. Tezene kalıplarının tasnifi, bağlama öğretiminde kolaydan zora
doğru aşamalı bir eğitim sürecinin oluşması amacına araçlık edeceği öngörülmüştür.
Ayrıca icra tekniğinden yola çıkılarak yapılan tasnifin icrada müziksel
terminoloji açısından ortak bir dil birlikteliğinin oluşmasına katkı sunacağı
değerlendirmesi yapılmıştır. Sonuç olarak halk müziği usul yapısının tasnifi
referans alınarak, bağlamadaki temel icra düzeyi, orta icra düzeyi ve ileri
icra düzeyi açısından tezene kalıplarının yeniden tasnif edilmesi ve
isimlendirilmesi, ileri icra tezene kalıplarının bir kod sistematiğinin
oluşturulması geleceğin bağlama öğretim formasyonuna ve işlevselliğine ışık
tutacağı değerlendirmesi yapılmıştır.
Anahtar Kelimeler
bağlama öğretimi,
bağlama metodu, bağlamada tavır, tezene kalıpları, tezene teknikleri, ses
işleme tekniği
Systematic
of Tezene [Plectrum] patterns and the determination of their technical and
conceptual forms in baglama teaching and performance
Extented Abstract
This
study focuses on and discusses certain major tezene [plectrum] patterns used in
the performance and teaching of baglama, the instrument considered as the
primary cultural transmitter of Anatolian music. It examines the performative
stages that baglama has undergone the performative techniques of tezene.
Some
of the various factors that are thought to affect the formation stage of tezene
patterns in the traditional sense are as follows: the local melody and rhythmic
structure, the transfer of melodies performed with other instruments to
baglama, the new and effective sound of the instrument to be heard in high
volume so that performers can feel the rhythmic weighing of the person or team
playing in order to accompany the folkloric dances performed in the region as
an effort to create performative techniques.
Undoubtedly,
musical abilities and instrument playing abilities of baglama performers have
been very decisive in the formation of these tezene patterns in the historical
process. Master instrumentalists’ performance in past and present, the
dissemination of special tezene patterns seen in different regions and genres
to works of other regions and genres by them proves their functionality in
these processes from past to present.
Tezene patterns form the basis of baglama
performance and teaching in terms of baglama playing technique. The study
attempts to develop a systematic categorization of tezene patterns according to
their methodical structures and performance levels. It intends to create a
consistent terminological language by taking into account the application areas
and technical features of special tezene patterns.
In this study,
qualitative research techniques such as document analysis, observations,
descriptive and comparative analysis were used.
In the study, the procedural structure of
Turkish folk music was taken as a reference in the classification of tezene
patterns and the formation of the systematic of baglama teaching, since the
works that constitute the performative area of baglama are evaluated within THM
method structure and its organic connection with the rhythmic structure. The
classification was made on the basis of performance level of tezene patterns,
the structure of style-tezene pattern, their performance characteristics and
application areas.
With this
classification, it is aimed to establish theoretical and performative
parallelism with the harmony and integration of the procedural structure of
folk music and tezene patterns in baglama performance simultaneously in the
same context.
Tezene patterns; divided into three subcategories
as as main tezene patterns, combined tezene patterns and mixed tezene patterns
according to their application areas, musical technical performance features
and folk music procedural structure. These tezene patterns classified by
dividing into classes corresponding to basic performance level, intermediate
performance level and advanced performance level are also presented in tables.
They are also classified among themselves as first stage, second stage and
third stage. It is predicted that the classification of these tezene patterns
will serve as an instrument for the formation of a gradual education process
from easy to difficult in baglama teaching.
It
has been observed that the expression of special tezene patterns, which were
formed during processes after the transition to playing techniques, with local
concepts and region or city names, did not generally coincide with application
areas in the performance and performative technical functionality.
For
this reason, the enlargement and generalization of performative areas of
special tezene patterns necessitated the re-evaluation of the attitude as a
phenomenon in baglama with new approaches and classifications.
Specific
tezene patterns, called attitude, are various advanced performative techniques encountered
in every style, in every locale/region and in works of special quality. More
than half a century of publications, education and many different forms of
interaction have played roles in this widespread use of special tezene
patterns. This performative transformation and prevalence in practice led to
the general adoption of special tezene patterns in baglama performance and to
this degree in generalization out of its local-regional character. For this
reason, this study emphasizes that at this point the general position of
special tezene patterns is not comprehensive enough to express conceptually
with local concepts.
In
this context, given the prevalence of special tezene patterns defined as
manners/attitudes in terms of region and genre, a new category has been
proposed in theis study by taking into account the performative and technical
features because it is inadequate to express general level with local levels
and the existing conceptual expressions do not contain technical features, and
they do not overlap with the application area in terms of region and genre. In
this direction, it is suggested that matching the terminological equivalents of
the application areas and technical functionality and naming and expressing them accordingly will be especially important in
terms of baglama teaching methodology.
In
the aforementioned classification, it has been evaluated on the basis of the
fact that special tezene patterns are a means of producing a technical sound in
the application, they are re-coded and renamed according to alphabetic and
mathematical data.
To sum up, by means of taking the
classification of the
procedural structure of folk music as a reference,
reclassifying and naming tezene
patterns in terms of basic performance level, intermediate performance
level and advanced performance level in baglama playing and naming them according to
their technical characteristics, it is aimed to create a systematic codification regarding the performative tezene patterns. It has been evaluated that they will contribute to
the future of baglama teaching in
the context of an
instrumental relationship and it will shed light on its
functionality.
Keywords
bağlama teaching, bağlama methodology, performative
attitude in bağlama playing, tezene patterns, tezene techniques