Akademik Veri Yönetim Sistemi
Rast Muzikoloji Dergisi, cilt.12, sa.1, ss.79-101, 2024 (Scopus)
It can be said that one of the most basic elements that ensure the existence of a society and preserve its identity is the culture created by that society and the transfer of this culture to future generations. Folk songs, one of the most beautiful examples of Turkish music culture and oral literature, have been an important tool in transferring the culture to future generations. We can briefly define folk songs that deal with all kinds of natural and social events in the world, from birth to death, as folk data in which Turkish people openly express their joy, sadness, reproach, enthusiasm, and many other feelings. It is also possible to reach all kinds of information about the society in these folk songs, which contain the physical and human characteristics of the region in which they are formed. In folk songs, which are the living memory of the society, the lifestyle, values, and beliefs of that society are kept alive. Due to this feature, folk songs have played a great role in transferring the culture to future generations and keeping it alive. Folk songs differ from region to region in terms of both their lyrics and melodic structures. This difference shows how rich and diverse the folk songs are, both in terms of their melodic structure and in terms of verbal elements. It is thought that every region, even every province, and village of Turkey should be carefully examined in terms of keeping the Turkish music culture alive, revealing the differences, and feeding this source. Women played a major role in the nourishment of this source, both by being the subject of folk songs and the burning identity of folk songs. Based on this idea, in this study, women’s folk songs from the Yozgat region, which are a part of this culture, are discussed. Female dialect folk songs, which are defined as folk songs that reflect women’s feelings and are performed by women in terms of the source of emotion and thought, have been examined in terms of words and musical elements. In this direction, the main topics (themes) covered in the folk songs, as well as the other topics and the emotional states conveyed, were tried to be determined under the title of the verbal elements of the women’s dialect folk songs of the Yozgat region. In terms of musical elements; form structures, rhythmic structures, modal scale structures, and vocal widths. This study is qualitative research and a holistic single-case design was used. The universe of the research is the folk songs of the Yozgat region and the sample is the folk songs of the Yozgat region. The data collected using the document analysis technique were analyzed through descriptive and content analysis. To increase the validity and reliability of the research, the research process, namely; The research model, universe and sample, data collection, data analysis, findings, and results were tried to be explained in detail. In addition, while examining the words and music elements, it was concluded by interviewing experts in their fields. The results of the Yozgat region women’s folk songs, which were examined under two main headings, were evaluated by presenting them in tables. When the subjects (themes) covered in the lyrics of 78 female dialect folk songs from the Yozgat region are examined; 10 different main topics such as death ballad/lament, love-love / hometown, henna/wedding, love/infatuation/separation, soldier / military service, prayer curse, abroad / longing, work, imece, humorous. theme) emerged. However, in addition to these main themes (themes) determined in folk songs, other sub-topics were also determined. In order not to limit the analyzed folk songs to a single main topic (theme), the other topics (themes) and the emotional states conveyed in the folk song are also given in a separate column in the table where the main topics are presented in the findings section of the study. If we give an example to some of these, the main subject of love/infatuation in the folk song is talking about homelessness and separation; the subject of separation in the henna/ wedding ballad, reflecting the feeling of sadness; can be counted as voicing issues such as curse in the work ballad. In addition, the local expressions in the lyrics of the folk song were determined as a result of the analysis of the word elements. Local words and expressions were identified in 33 of 78 female dialect folk songs from the Yozgat region. In 33 folk songs with local words and expressions, 74 different words and expressions specific to the region were determined. Among these folk songs, five regional expressions were found in each of the folk songs named Ağ Buğdayim Buğdayim, Bir Son Alsa, Kaynanayı Netmeli with the highest number. The words that we can give as examples of some of the local expressions in the words of the women’s folk songs of the Yozgat region are as follows; mahana (excuse), playing nen (singing a lullaby), rowan (dirty, clumsy), noğürdü (what did he do), gedik (one end, missing corner). It has been determined that 73 of the 78 female dialect folk songs examined musically, 73 are broken hava (with rhythm) and 5 are long hava (with free rhythm). Since the notes of 5 folk songs in the form of long hava (free rhythm) could not be reached, the rhythmic structures, modal sequences, and vocal widths of these folk songs could not be determined. When the rhythmic structures of 73 folk songs in broken air (rhythmic) form are examined, 67 (93%) folk songs are in simple structures such as 4/4, 2/4, 6/4, 3/4, and 7/4. is; It was determined that 6 (8%) folk songs were in lame structure such as 12/8, 8/8, 9/8, 10/8, and 14/8. 9 different makam scales were determined in 73 folk songs whose makam scales were examined. “Hüseyni” of 30 (42%) folk songs; 25 (34%) folk songs are in the “Uşşak” makam series; In 18 folk songs, modes such as “Segah”, “Hicaz”, “Çargah”, “Saba” “Kürdi”, “Buselik” and “Acemaşiran” were determined. It was determined that 62 (85%) of the 73 folk songs whose sound widths were examined were below an octave (range 8) and 11 (15%) had a sound width of one octave (range 8) and above.