Yaylı çalgılar ailesine mensup olan Karadeniz kemençesi, şekil ve çalım özellikleri itibariyle Türkiye sınırları içerisindeki Kuzey Doğu Anadolu (Doğu Karadeniz) bölgesine özgü bir çalgıdır ve bu bölgedeki müzik geleneğinin en önemli temsilcisidir. Karadeniz kemençesi diğer yaylı enstrümanlardan ayırılan özgün bir çalım tarzına ve repertuara sahiptir. Bugün, Karadeniz kemençesi sadece Türkiye'nin Karadeniz bölgesinde değil, 20. yüzyılın başlarında nüfus mübadelesi nedeniyle Yunanistan'a göç eden Karadenizli Rumlar tarafından da icra edilmektedir. Bu bağlamda Karadeniz kemençesi hem Türkiye’de hem de Yunanistan’da Karadenizli halkların en önemli ve sembolik çalgısı olarak karşımızı çıkmaktadır. Her ne kadar aynı ortak kültürel coğrafyadan geliyor olsalar ve birçok benzerliği hala barındırıyor olsalar da, aradan geçen neredeyse yüz yıllık bir zaman zarfından sonra, iki toplum arasında, gerek müzik, gerek dans, gerek diğer kültürel olgular açısından bir takım farklılıklar kaçınılmaz olarak ortaya çıkmıştır. Bu farklılıkların, özellikle mübadele ile birlikte farklı bir sosyo-kültürel ve politik çevreye yerleşmiş olan Karadenizli Rumların kemençe icra geleneklerine önemli ölçüde yansıdığı gözlemlenmektedir. Özellikle son 10-15 yıllık bir süreç içinde önemli bir popülerlik kazanan Karadeniz müziği, ana akım medya ve sosyal medya üzerinden daha geniş kitlelere ulaşmaktadır. Bu durum Karadeniz müziği icracılarında da bir artışa neden olmuş ve Karadeniz kemençesi icrası gençler arasında önemli düzeyde yaygınlaşmıştır. Buna ek olarak, kitle iletişim araçlarının ve internetin gelişmesiyle birlikte, Yunanistan’a göç eden Karadenizli Rumlar ve Türkiye’deki kemençe icracıları arasındaki iletişim ve etkileşim artmış, doğal olarak aynı kültürel geçmişten gelen bu insanların etkileşimi kemençe icralarına da yansımış, özellikle Türkiye’deki kemençe icracıları arasında, Yunanistan’daki Karadeniz göçmeni Rumlar arasındaki geleneksel icraya ilgi artmıştır. Yukarıda belirtilen etkenlere dayalı olarak Türkiye’deki kemençe icracıları arasında tanımlanan bir “Rum tavrı” söz konusu olmuştur. Bu makale, 2016-2018 yılları arasında Yunanistan’da gerçekleştirilen alan araştırmasının sağladığı veriler ışığında ve “Rum tavrı nedir?” sorusu bağlamında Yunanistan’’daki geleneksel kemençe icra pratiğinin gelişim ve değişim sürecini, çalım tekniği ve repertuar açısından ele alıp analiz etmeyi amaçlamaktadır.
The Black Sea shell, which belongs to the family of rockets, according to the shape and characteristics of the play, is a play that is unique to the region of North East Anadolu (Eastern Black Sea) within the Turkish borders and is an important representative of the music tradition in this region. The Black Sea shell has an original play style and repertoires separated from other folded instruments. Today, the Black Sea shell is executed not only in the Black Sea region of Turkey, but also by the Black Sea Romans who migrated to Greece due to the population exchange in the early 20th century. In this context, the Black Sea shell appears to us as an important and symbolic shell of the Black Sea peoples in both Turkey and Greece. Although they come from the same common cultural geography and still contain many similarities, after almost a hundred years of interruption, a set of differences between the two societies, whether music, or dance, or other cultural events, have inevitably emerged. These differences are observed, especially with the exchange, in a significant extent reflected in the traditions of the Black Sea Roms, who are settled in a different socio-cultural and political environment. Black Sea music, which has gained significant popularity in the last 10-15 years, has reached wider audiences through the mainstream media and social media. This situation has also led to an increase in the Black Sea music exhibitions and the Black Sea rock exhibition has spread significantly among young people. In addition, with the development of mass communications and the internet, the communication and interaction between the Black Sea Romans who migrated to Greece and the cement executive in Turkey has increased, the interaction of these people from the same cultural history has naturally reflected the cement executive, especially among the cement executive in Turkey, the interest in the traditional executive between the Black Sea immigrant Romans in Greece has increased. Based on the factors mentioned above, there was a "Rum attitude" defined among the cement executives in Turkey. This article, in light of the data provided by the field research conducted in Greece between 2016-2018 and "What is the Rom attitude?" In the context of the question, it aims to address and analyze the process of development and change of the traditional executive practice in Greece, from the point of view of the technique and repertoire.
The kemenche (Black Sea fiddle or Pontic lyra) is a bottle-shaped stringed instrument originated from the Black Sea region of Turkey. It is one of the most important figures of Black Sea music tradition as it has an original playing style and repertoire that differentiates this instrument from other bowed instruments. Today, kemenche is being performed not only in the Black Sea region of Turkey but also in Greece, where the Pontic Greeks have immigrated from the Black Sea region of Turkey at the beginning of the 20th century. In addition to that, kemenche remains as the most significant and symbolic musical instrument for both communities of Greek (Pontus people) and Turkish (Black Sea people). When the playing styles of these two groups are considered, it is possible to observe both similarities as well as differences. While similarities stem from similar origins shared by the two communities, the reasons for differences can be traced back to the changes of the cultural environment by one community, i.e. Pontic Greeks, through immigration and population exchanges. In the last ten-fifteen years, Black Sea traditional music gained great popularity and it had the opportunity to reach a wider audience. This popularity increased the number of people who wanted to engage in Black Sea music. Due to this fact, today there are many kemenche performers among the young generations compared to the past. Consequently, with the increase in the usage of Internet and cable system networks of mass communication, the cultural bonds between the Black Sea communities of Turkish and Greek heritage had the opportunity to interact with each other. Specifically, this cultural interaction valuably increased between the young generation kemenche players of both communities. For instance, among the Turkish kemenche players, the different kemenche playing style that is played in Greece has recently become popular and the Turkish kemenche players defined this new style as Greek style - “Rum tavrı”. In this paper, I aim to analyze the traditional performance of kemenche based on the data gathered from the field research I conducted in Greece between the years of 2016-2018, and it also discusses the playing techniques, repertoire, and evolution process of kemenche performing practice through the question “What is the Greek style- Rum tavrı?”.
Alan : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Ulusal
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