Rast Müzikoloji Dergisi
Yazarlar: S. Çınar
Konular:-
DOI:10.12975/rastmd.2013.01.01.0010
Anahtar Kelimeler:Female/women,Folk instrument (saz),Representation,Production,Production environment,Musical identity
Özet: Folk instruments, which play an important role in the production and transferof music, are cultural products that sometimes give voice to non-expressible feelings,save time for remembering the lyrics, increase the joy by adding to the sound, andsometimes maintain the rituals and serves as a means of communication. Thematerials they are made from, their shape and sound, they bear the traces of societyand they are also the most important indicator of character of music. As ancient ashumanity in terms of existence, they are the proof of cultural values of humanity withtheir rich variety. Besides the variety of our traditional folk instruments that take onthe primary task in continuation of musical tradition, they have representatives too.Such representatives sometimes take the name of the traditional art which theyproduce and sometimes they are called by the name of the folk instrument they play;they show themselves by various names and qualities such as minstrel, bard,tambourine (tef/def) player, tabor (deblek/delbek) player, reed (sipsili) player,uyguncak playerThe representatives, who contribute to the creation and maintenance oftraditional music in company with the traditional folk instruments, represent theirinstruments by remaining loyal to their cultural identities as well as their social roles.The places where they produce music with such traditional instruments rangesdepending on mentioned indicative elements in indoor-outdoor verbal culturalenvironments such as village wedding, henna night, farewell ceremonies for soldiers,city/town festivals, culture houses, places of worship, high pastures, nomad campingsites, etc. In this point, when we look at the adventure of our traditional folkinstruments, we see that women take over the role of representative and even thoughthey create special expression styles in terms of music and lyrics during thisadventure, they do not have a room for themselves under such roof.In this context, considering the fact that although female representatives oftraditional folk instruments have moved to big cities or their local characteristicshave somehow changed even though they continue living in their hometowns, theyare a part of this tradition with their current characteristics and productions styles; wewant to keep such musical soul alive, which has existed in all periods and willcontinue to exist, to make artistic identities of female representatives visible and toaccompany to their existence stories. Date obtained via field records have beenanalyzed within the contexts of expression styles of female representatives oftraditional folk music in the 21stcentury, their playing techniques, creation process oftheir musical products, transfer methods, the function of music in the lives of suchfemale representatives and reflection of their female identities into music