Özet:

People's games live the traditional ways of life, beliefs, relationships with nature and with each other by combining body imaginations and music, and have the character of being a significantly effective element in the transmission of culture. With more than four thousand different popular games, Anadolu combines the figures and musical elements in a way to form a whole, according to which the popular game names are also referred to as the form name in Turkish popular music. As one of these forms, the "halay" form form forms a significant part of the Turkish people's musicism and games, showing differences according to the places they belong to in terms of the musical elements. The thorough examination of these differences from the musical point of view plays an important role in the Turkish people’s musical and educational point. In this study, it is intended to be evaluated in terms of the form of the use of the saze part, saze term, phrase, motivation, section, word, makām and usûl. The findings made were shown on the work note, new symbols and terminologies such as the work fiction and the icrâ stream were used. The work was created using different makām and procedures, the influence of the people's music is more intense, the local motives are harmoniously combined with the classical style, the makam passes and decision-making and procedural changes are made skillfully; the music and game requires high inquiry skills, the form and the Nazareth carry an educational and educational qualification, the artistic fiction and the source person and the collector can be a common example of composition in the Turkish people's music. With the use of Gülçin Yahya Biçim Tahlîli in the form assessment of Turkish people's musical works, it has been seen that the excessive structures can be studied in detail, according to the studies, new data can be revealed.

Anahtar Kelimeler:

Özet:

The folk dances keep alive the traditional lifestyles of societies, their beliefs, their relations with nature and each other by combining them with body movements and music and are an important element in the transfer of culture. Anatolia, with over four thousand different folk dances, combine music and movement elements, therefore folk dance names are used as a form name in Turkish folk music. As one of these forms, the "halay" form, constitues important part of Turkish folk music and dances; involves differences in terms of regions they belong to. Analysing of this differences within the scope of music playn an important role concerning turkish folk music educatioan and performance. An in-depth examination of these differences within the scope of music plays an important role in Turkish folk music educatioan and performance. In this study; it is aimed to analyze the instrument parts, sentences, sections, maqams and usûls usages in balled called Çekin Halay Dizilsin (Sivas Halayı) in terms of form. Findings were showed on ballad note and new statement such as “Composition Structure” and " Performing Flow" were used. It was concluded that the ballad was created by using different maqams and usûls, with the effect of folk music melodies being felt more intensely regional patterns were brought together classical style in a harmonious way, maqam transitions and usûl changings were made accomplishedly, ballad has an educational and instructive quality in terms of form and theory and requires to high perform ability in terms of music and dance, with aspect of its artistic fiction, source person and gleaner are in common this ballad is searchable example from the point of composition in Turkish folk music. By using “Gülçin Yahya Composition and Perform Analysis Methods” in the form analysis of Turkish folk music works, it has been seen that melodic structures can be examined in detail and new data can be revealed depending on the examinations.