Abstract:

Turkish folk dance is one of the topics of Turkish folk music. The dance scenes, which are one of the main objects that form the Turkish folklore and are found in two verbal and non-verbal structures, are considered as traditional and popular scenes. Therefore, the local characteristics and attitude are the same as the Turkish folk music. The study of the edges of Turkish folk dances will also be provided with the idea of a formation on the edge by comparing the sentences that make up the edge and the sentences that make up the edge and the motives found in the edge, which will be used in the analysis of the work. The phrases, sentences and motives that will be used in this method will make it possible to make new ideas about the melodic identity between the basics and the question-response periods and other detections, such as the makamsal structure of the basics, the pace/speed state, the width of the sound in the basics.  With the music analysis method described above, the Gaziantep folk dance scenes will be studied and again the six dance scenes will be analysed, the similar structures and differences of the scenes and the various melodic accumulation elements will be removed in the oral / non-verbal scenes. With the results to be obtained, it is believed that the provisions on the structural status of the Gaziantep folk dancers will be revealed and that new findings will provide resources for research.

Abstract:

Turkish folk dance melodies are one of the most important subjects of Turkish folk music. One of the basic elements that make up the Turkish folklore and the two verbal/non-verbal dance tunes are considered as folk tunes with its traditional feature. For this reason, the local characteristics and attitude are similar to Turkish folk music. The analysis of the melodies of Turkish folk dances will be used in the analysis of the works, which will be used in the analysis of the deductive method that goes all the detail and the melody of the sentences, phrases and phrases in the sentence by comparing the phrase found in the expression of a formation on the melody will be provided. The sentence to be used in this method, clause(small sentence) and motif formed by the basic answer to the answer-answer periods, the modal structure, tempo / speed status, melody sound width continued with other determinations such as the sound analysis, the new melodic identity between dance melodies will be able to make output. With the musical analysis method described above, Gaziantep folk dance melodies will be examined and the samples of the work analysis on the six dance melodies will be given, and similar melodies and melodies will be produced in verbal / non-verbal melodies with similar structures and differences of melodies. With the results to be obtained, it is thought that the provisions on the structural status of the Gaziantep folk dance melodies will emerge and provide new researches with new findings.

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