Publication: 21. yüzyıl ney icrasının 2 farklı ekol üzerinden karşılaştırmalı teknik incelemesi (analizi)
Abstract
Farklı ney tavrında eğitim görmüş iki neyzenin icralarını incelenmesini kapsayan tez çalışması, giriş ve sonuç kısımlarından hariç olarak bulgular ve yorumlar ile karşılaştırmalar ve değerlendirmeler adlı 2 bölümden oluşmaktadır. Bu araştırmanın amacı; Neyzenlerin tavır özelliklerini oluşturan glisando ve çarpma unsurlarının hangi fark ve benzerliklerle, hangi sıklıkla kullanıldığını tespit edebilmektir. Bunun için 3 ney metodunda (Erguner, Kaya, Derya) ortak olarak yer alan 10 saz eseri seçilmiş icracılarla yapılan kayıtların notaları Finale 2014 programıyla notaya alınmıştır. Glisando ve çarpmaları hangi noktada yapıldığını belirlemek için de Cubase 10 pro adlı program kullanılmıştır. Glisandonun tarama ve kaydırma olarak kullanıldığı toplamda 5 farklı fonksiyona sahip olduğu tespit edilmiştir. Çarpmaları her iki icracının da inici harekette 2, 3, ve 4'lü, çıkıcı harekette 2, 3, 4, 5, 6, 7'li mesafedeki sesler arasında sesleri birbirinden ayırmak için kullanıldığı belirlenmiştir. Çarpmalar sustan sonra motifin ilk notasını vurgulamak için, ünison sesleri bölerek motife canlılık vermek için ve sesleri sonlandırmak için kullanıldığı belirlenmiştir. Çalışmanın sonucunda glisando ve çarpma unsurlarının 2 icracıda da aynı fonksiyonlarla kullanıldığı ancak bazı unsurların sayısal olarak daha fazla kullanıldığı tespit edilmiştir.
This thesis examines the performances of two ney players trained in different styles and is structured into two main chapters: Findings and Interpretations and Comparisons and Evaluations, excluding the introduction and conclusion sections. The aim of this research is to identify the similarities and differences in the use of glissando and acciaccatura, which are essential elements defining the style of ney players, as well as the frequency of their use. For this purpose, ten instrumental pieces commonly included in three ney methods (Erguner, Kaya, Derya) were selected, and the recordings of the performers were transcribed into sheet music using the Finale 2014 software. Additionally, the Cubase 10 Pro software was employed to determine the exact points where glissandos and acciaccaturas were executed. The study found that glissando serves five distinct functions, being used as both sliding and scanning techniques. Acciaccaturas, on the other hand, were observed to be employed by both performers to separate notes during descending movements between intervals of 2nd, 3rd, and 4th, and ascending movements between intervals of 2nd, 3rd, 4th, 5th, 6th, and 7th. They were also used to emphasize the first note of a motif following a rest, to add liveliness to a motif by breaking unison notes, and to terminate notes. The results indicate that while glissandos and acciaccaturas were utilized for the same functions by both performers, certain elements were employed more frequently by one player than the other.
This thesis examines the performances of two ney players trained in different styles and is structured into two main chapters: Findings and Interpretations and Comparisons and Evaluations, excluding the introduction and conclusion sections. The aim of this research is to identify the similarities and differences in the use of glissando and acciaccatura, which are essential elements defining the style of ney players, as well as the frequency of their use. For this purpose, ten instrumental pieces commonly included in three ney methods (Erguner, Kaya, Derya) were selected, and the recordings of the performers were transcribed into sheet music using the Finale 2014 software. Additionally, the Cubase 10 Pro software was employed to determine the exact points where glissandos and acciaccaturas were executed. The study found that glissando serves five distinct functions, being used as both sliding and scanning techniques. Acciaccaturas, on the other hand, were observed to be employed by both performers to separate notes during descending movements between intervals of 2nd, 3rd, and 4th, and ascending movements between intervals of 2nd, 3rd, 4th, 5th, 6th, and 7th. They were also used to emphasize the first note of a motif following a rest, to add liveliness to a motif by breaking unison notes, and to terminate notes. The results indicate that while glissandos and acciaccaturas were utilized for the same functions by both performers, certain elements were employed more frequently by one player than the other.