Bağlamanın tarihsel gelişimi
Küçük Resim Yok
Tarih
2002
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Ege Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Cumhuriyet sonrası dönemde, ülkemizdeki kültür politikasının bir sonucu olarak GTHM, uluslaşma sürecine bir katkı, ulusal müziğin oluşumunda da bir nüve olarak düşünülmüş ve buna yönelik çalışmalar yapılmıştır. Bu çalışmaların çok azı beklenen ilgi ve başarıyı yakalamıştır. Bunun sonucunda da uzunca bir süre GTHM ve başta bağlama olmak üzere GTHM çalgıları değersiz görülmüş ve hak edilen ilgi gösterilmemiştir. Yurttan Sesler Korosu'nun kurulmasıyla GTHM'de ve dolayısıyla bağlama çalımında bir gelişim ve toparlanma görülmüştür. Daha sonra da Türk müziği konservatuarlarının kurulmasıyla usta çırak ilişkisiyle yürütülen bağlama eğitimi akademik bir boyuta ulaşmıştır. Yalnız bu gelişimin yanında açıkça görülmektedir ki dünya üzerindeki bir çok halk çalgısı ve bağlama gibi kopuzdan türeyen halk çalgıları için de eserler yazılmış, metodlar üretilmiş ve teknik kapasiteleri geliştirilmiştir. Yaptığımız çalışmadaki amaç, köklü bir geçmişi olan bağlama hakkındaki tarihsel, yapısal ve teknik bilgilerin belgelenmesi, zaman içersindeki bu uzun süreçte geçirdiği değişimlerin saptanması, bağlamaya gerek icracı gerek de eğitimci ve araştırmacı olarak emeği geçenlerin belirtilip, bütün bu bilgilerin bir arada bulunduğu bir başvuru kaynağı oluşturmaktır
After the declaration of Republic, as a result of our country's policy, the Traditional Turkish Folk Music has been accepted as a focus on the formation of the national music and it has also been taught as an addition to the period of the nationalism and many studies have been done on these subjects, too. But only few of these studies could be able to catch the expected success and have the right interest. As a result of these, Traditional Turkish Folk Music and Turkish Folk instrument Bağlama and other folkloric instruments have been accepted invaluable and couldn't have had the right attention for a long time.. After the foundation of Yurttan Sesler Korosu, Traditional Turkish Folk Music and folk instrument bağlama started to have a good place among the people and more people started to play bağlama, and after the foundation of the conservatory of Turkish Music, the education of the playing bağlama have had an academic dimention. Instead of relation between masters and their assistants. Beside these developments, it has clearly been seen that many works and songs were written new methods were produced and new techniques were improved for many folkloric instruments like bağlama and other folkloric instrument which derine from the other folkloric instrument "Kopuz". But Bağlama is very limited for this productivity and improvement. The aims of these studies are to prove the technical, historical and consructive knowledges of Bağlama, to fix the ckanges of this instrument in these long period and to point out the people who have worked on it a3 researchers and trainers or just played it as an instrument.
After the declaration of Republic, as a result of our country's policy, the Traditional Turkish Folk Music has been accepted as a focus on the formation of the national music and it has also been taught as an addition to the period of the nationalism and many studies have been done on these subjects, too. But only few of these studies could be able to catch the expected success and have the right interest. As a result of these, Traditional Turkish Folk Music and Turkish Folk instrument Bağlama and other folkloric instruments have been accepted invaluable and couldn't have had the right attention for a long time.. After the foundation of Yurttan Sesler Korosu, Traditional Turkish Folk Music and folk instrument bağlama started to have a good place among the people and more people started to play bağlama, and after the foundation of the conservatory of Turkish Music, the education of the playing bağlama have had an academic dimention. Instead of relation between masters and their assistants. Beside these developments, it has clearly been seen that many works and songs were written new methods were produced and new techniques were improved for many folkloric instruments like bağlama and other folkloric instrument which derine from the other folkloric instrument "Kopuz". But Bağlama is very limited for this productivity and improvement. The aims of these studies are to prove the technical, historical and consructive knowledges of Bağlama, to fix the ckanges of this instrument in these long period and to point out the people who have worked on it a3 researchers and trainers or just played it as an instrument.
Açıklama
Anahtar Kelimeler
Müzik, Music, Bağlama, Bağlama (Müzik aleti), Kopuz, Kopuz, Müzik aletleri, Musical instruments, Türk halk müziği, Turkish folk music, Çalgı eğitimi, Instrumental education
