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- Title
Viyolonselin Türk makam müziğine girişi ve Tanburi Cemil Bey.
- Authors
Özürk, Yelda Özgen; BeŞİroğlu, Ş. Şehvar
- Abstract
There have been changes in string instruments like in all instruments in the history of Turkish makam music. These changes either have occurred on the instrument itself or have caused the instrument to leave its place to other instruments having the same function. All these changes fell short of answering the search of new timber which resulted in either replacement or addition of foreign instruments. However, despite the fact that the improvements in instruments brought changes in performance to some extent, neither the basic style nor the character of instruments did show much change. What is more, these styles have dominated the new instruments that substituted them. When the entrance of European violin family to Turkish music began by viola d'amour, rebab, known as Turkish violin in the 17th century, was very popular. Charles Fonton maintains in his book Turkish Music in the 18th century that the name violin is used both to define the western violin and rebab. After the viols called "sinekeman" by Turks,the violoncello which as an instrument with more bass character received acceptance in fasil groups in the 19th century. Since no recordings of first violoncello performances exist, it is not possible to determine exactly how and in what style they were played. In fact, the number of violoncello recordings done with the technology at the start of the 20th century is highly limited. Nevertheless, the violoncello recordings of Tanburi Cemil Bey though few in number, should be considered as a great opportunity. Violoncello is first played in orchestras and bands aiming to make western disciplined polyphonic music. In II.Mahmut's reign with the westernization movement after the closure of Yeniçeri Ocaklari (1826) (guild of janissaries), the first band and the music school Muzikayi Hümayun was established instead of Mehter. Talented musicians brought up in Mehter bands were hired for the band. New instruments were imported from Europe to be taught in the band. As well as Muzikayi Hümayun, women in Harem gathered to play in bands. In these orchestras we know that besides violin, violoncello and contrabass were played. The entrance of the violoncello to Turkish music is definitely not a coincidence. In fact, the reason for this entrance is not only its entrance to art together with new movements, but also the previous existence of cello-like instruments in Turkish music. In other words, by time, the existing instruments had to leave their place to the violoncello that has the same function. Iklig is an instrument that is indicated in ancient Anatolian sources. That it is played vertically and one of its iron feet leans on the ground are its similarities to the violoncello. Another instrument similar to the violoncello is ayakli keman (footed violin), though it was never as widely used as the iklig or rebab. It is observed that even though instruments like iklig, rebab, and footed violin live under the name rebab, this instrument has been replaced by the violoncello in terms of sound intensity in the contemporary ensembles. After the recording technology came into use, we had an opportunity to listen to a large number of works from the master musicians. The oldest recording of violoncello performance is the master Tanburi Cemil Bey's. We can trace the same quality and virtuosity in every instrument that he plays. He used violoncello, as a solo instrument, compared to his kemençe interpretations, he is as energetic and fast as kemençe and sometimes even more experimental in his violoncello playing. The capacity and the wide range of colors of the instrument gave way to new experiments and dimensions in his violoncello interpretations. The very common ornamentations, glissandos, grace notes and trills are a very special concept with fingerings that enable these motions. On the other hand, bowing technique is closer to the technique of" yayli tanbur" and "kemençe" bows are divided between main pitches and grace notes by cut and detached bows; thus, creating a plectrum effect. By means of the violoncello performances of Tanburi Cemil Bey, the techniques which belong to traditional and folkloric values of Turkish makam music like vibrato, grace notes, glissandos, special bows and fast articulations was detected and analyzed. Therefore, the aim is to find a place for these techniques in the contemporary performances and newly written compositions. The approach to analyze taksims had primarily been to transcribe the existing taksims.
- Subjects
TURKEY; CELLO instruction; TURKISH music; FONTON, Charles; RABAB; JANIZARIES; HAREMS; GLISSANDO; BOWING of stringed instruments
- Publication
ITU Journal Series B: Social Sciences, 2009, Vol 6, Issue 1, p31
- ISSN
1303-7013
- Publication type
Article