“YURTTAN SESLER” AS A FOLK MUSIC ENSEMBLE IN THE CONTEXT OF TRADITION AND MODERNITY

GELENEK VE MODERNİTE BAĞLAMINDA BİR HALK MÜZİĞİ TOPLULUĞU OLARAK “YURTTAN SESLER”

Abstract

In the coverage of this study, in the example of Yurttan Sesler, the concept of change of the ‘ideas’ has been discussed in the framework of the tradition and modernity. Not only the ethnomusicological dimension of the subject but also its anthropologic interpretation confirm that there is an intellectual ground of the systematic changes in the music. The interpretations here emphasis that the Anatolian music inventory has been shaped by means of a re-production which is fictionalized through the Yurttan Sesler as it serves a function in the transition of the tradition and modernity. Such re-production has both internal and external changes, however, it is not false within the fiction of the Yurttan Sesler as well. The chapters of the study have been written with a systematic principle which prepares a ground for an ethnomusicological deduction. The method of the article covers the self-reflexive language of the qualitative research method, its auto-ethnographic perspective and the native ethnographic opinion. This ethnographic study has been written by means of the interpretative approach in the meaning of the earmark of the ethnomusicological findings. The anthropological dimension of the subject discusses the concepts of tradition and modernity and the change of the ideas at the basis. The musical change, on the other hand, is related with the ethnomusicological area of the mentioned subject in question. In the study of the case analysis, the bases of the intellectual attitude at the point of outlet of the phenomenon of Yurttan Sesler are being interpreted by means of the acceleration of modernity. Yurttan Sesler came out in order to present the Anatolian folk music within a new structure and system, against the efforts which are made in order to create a nationalist polyphonic music. Until today, it is a folk music ensemble that created its own discipline and lobby in the context of performance and musical system along with four generations. As a conclusion, it is observed that every generation of the Yurttan Sesler which interpreted the Anatolian folk music in its new authenticity performed the folk music performance based on the different ideas in the frame of the change and modernity This article is interested in the values and socio-cultural changes in Turkish folk culture and music. The matter of change evaluated here isnot an accidental and temporary process. It takes aspects and description from its own cultural processes and more importantly from ideas. Yurttan Sesler case analysis shows that different continuity and change in the music are two sides of the same coin. Continuity and change relate to ideas and especially about the cultural values competing between Eastern and Western cultures continuing by the Turkish people. The issue discussed here concerns the structural changes in the music of a people relate to significant changes in the official or ideology and especially, the ideological change which they are based. In this sense, the structural changes in the music of a people can be associated with meaning given to their cultures and ideology. This view does not regard as possible that all members of a society or a group will always explain their culture and the changes they experience likewise and that they will make the same definitions. Because members of the public have a kind of membership and sense of group, they have some common and everyone-accepted criteria to emphasize the cultural features that separate their cultural acceptance or the values from others they adopt. For this reason, we can say that there is a separate existence field interconnecting for music and its environment. I chose the sample of Yurttan Sesler which is the most important figure in Turkish folk music or Anatolian folk music performances with common namebecause it carries a mystery involving with musical change in other words a duality of tradition and modernity in itself. In Anatolia, there are musical data which are dispersed, which have their own motion and style and which have gained representation value with its functionality. It has been attractive to me that that musical values have been valued and positioned in a 'modern' - 'contemporary' framework with a changing and specific musical system, structural and visual form. Change has clearly come out of in certain musical characteristics. If we evaluate in its own right, the two separate musical systems are now defined under the name 'tradition' despite their differences. The first system in Turkish folk music is the "Anatolian source" folk music performances that continuing in the oral tradition until the 1900s, spreading from the ear to the ear, acting with the master-apprentice relationship, continuous without formal and institutional formations like any notation-choral system-system performance. In this system, there are cultural formations of folk tunes and word transfer (see: Yöre, 2000; Karahasanoğlu, 2008 ve 2014; Gazimihal, 2006; Başgöz, 2008; Bartók, 2017). The second system is a new category that started in the 1920s and came out with comparison imported from Europe and uses Western organizations. While it cares about self-emphasis, it emphasizes the western interpretation type and adaptation (see: Şenel, 1999; Altınay, 2004; Balkılıç, 2015). The performances of Turkish folk music have been indicators of institutional and systemic cycle (see: Duygulu, 2002; Elçi, 2008; Ayas, 2014; Balkılıç, 2015; Öztürk, 2016). This new understanding, which takes refuge in the more 'old' tradition, includes features such as compilation, roundup, systematization, recording, and collective performance competence. This study provides the knowledge that they have a differential continuity in the tradition of these two types. The transition and the change between the first and second systems, then, a musical genre and repertory content is its subject. But first there is a more important problem that cultural scientists will be interested in,

Özet

Bu çalışma kapsamında Yurttan Sesler örneği ekseninde, fikirlerdeki değişim mefhumu, gelenek ve modernite bağlamında tartışılmıştır. Konunun hem etnomüzikolojik boyutu hem de antropolojik yorumu müzikteki sistemsel değişimlerin bir fikirsel dayanağı bulunduğunu doğrulamaktadır. Buradaki yorumlar, gelenek ve modernite geçişinde bir işlev gören derlenmiş Anadolu müziksel envanterinin, Yurttan Sesler aracılığıyla kurgulu bir yeniden üretimle şekillendirildiğini vurgulamaktadır. Bu yeniden üretim içsel ve dışsal değişimlere sahiptir, ancak Yurttan Sesler kurgusu içinde sahte değildir. Çalışmanın bölümleri, etnomüzikolojik bir çıkarım için zemin hazırlayan sistematik bir ilkeyle yazılmıştır. Makalenin yöntemi ise nitel araştırma yönteminin özdüşünümsel dili, oto-etnografik bakışı ve yerli etnograf düşüncesini kapsamaktadır. Bu etnografik çalışma, etnomüzikolojik bulguların alamet-i farikası bağlamında yorumsamacı yaklaşımla yazılmıştır. Konunun antropolojik boyutu gelenek ve modernite kavramlarını, fikirlerin değişimi temelinde tartışmaktadır. Müziksel değişim ise konunun etnomüzikolojik alanıyla ilgilidir. Vaka analizi bölümünde, Yurttan Sesler olgusunun çıkış noktasındaki fikirsel tutumun temelleri modernite ivmesiyle yorumlanmaktadır. Çoksesli milli musiki yaratmaya karşı, Anadolu halk ezgilerini yeni bir yapı ve sistem içinde sunmak için ortaya çıkan Yurttan Sesler'in günümüze kadar dört kuşak boyunca icra ve sistem anlamında kendi öz disiplinini ve lobisini yaratan bir oluşum olduğu ortaya çıkmıştır. Sonuçta, Anadolu halk müziğini yeni otantisite içinde yorumlayan Yurttan Sesler'in her kuşağının gelenek, otantisite, değişim ve modernite çerçevesinde farklı fikirlere dayalı halk müziği icrası yaptığı görülür