Akademik Veri Yönetim Sistemi
Rast Müzikoloji Dergisi, cilt.10, sa.4, ss.531-557, 2022 (Scopus)
Societies that have lived in nature for centuries have attributed some meanings to plants and animals which shape their lifestyles in both their cultural structures and their religious beliefs. Animal and plant symbols are widely used in folk songs, which are one of the most important elements of the oral culture of the people. In addition to their appearance, many features of animals such as flying, swimming, running and hunting have been a source of inspiration for the members of the observant society and have created their material and cultural creations in this context. Fish that can swim in the water, birds that can fly due to their magnificent anatomical features, especially snakes that can live both on the ground and underground, and many other animals with their physical strength, speed, sight, hearing and high sensing ability have attracted the attention of archaic people. As a result, they became a part of myths, and thus of the first religious and scientific experiments, and later of popular beliefs. Birds have an important place among animals that have many beliefs about themselves. Birds have been blessed in all world mythologies due to their ability to fly, to see the earth even from a high altitude and to hear (specific to some species), and they have found a place for themselves with the extraordinary features obtained as a result of this blessing. Birds such as Anka, Simurg, Phoenix and Garuda are some of them. In the folk beliefs that replaced the myths over time, the mythical birds were replaced by the birds encountered in daily life. Some of the extraordinary things attributed to mythical birds and the beliefs arising from these extraordinary things have been transferred to them thanks to the collective consciousness. One of these birds, the “owl”, usually inhabiting desolate places, evoking death and bad luck, is the result of a transfer of knowledge, perception and experience that has been conveyed through the collective consciousness from thousands of years ago to the present. Additionally, according to some beliefs in Turkish society, the intermittent, normal and muffled crowing of the owl is welcomed. Among the Kyrgyz Turks, the owl is considered a blessed animal. Owl name in written sources; It is also known as a yellow bird, big bird, gluttonous bird, death bird, kukumelko and puhu. One of the best ways to transfer the traditional culture of Anatolia and Rumelia from generation to generation is through folk songs. Turks living together with nature expressed all the events and observations in their lives with folk songs. In addition to the use of the name owl as puhu (Bursa) and dugguk (Antalya) in folk songs, the owl was often considered as a harbinger of sadness and loss, indicated as an enemy and believed to bring bad luck. In this study, document analysis technique, one of the qualitative research methods, was used. It aims to determine the reflections of the owl symbol on the Turkish folk songs of the Anatolian field in a poetic and melodic context. In this research, answers are sought to the questions of how the owl symbol is seen in the context of animal symbolism, how often it is used in folk songs, in which regions, in which maqam scales, in what sound widths and measures, and what the themes are in the lyrics of the folk songs. There are 25 recorded folk songs in the TRT Turkish Folk Music Repertory archive and 9 unregistered folk songs, in which the name Owl is mentioned, a total of 34; The region and its composer, maqam sequence, sound width, scale and the theme in its lyrics were examined by creating a table. The maqam order of these folk songs, whose themes are reproach (f:13, 38%) and love (sevda) (f:12, 35%), is mostly “Hüseyni” (f:11, 32%). The number of measures of folk songs with a pitch of at least 4 (f:2,6%) and a maximum of 11 (f:2,6%) is 2/4, 4/4, 4/4-6/4, 5/8, 6/8. It was seen in 8, 7/8, 9/8 and 19/8 measures, and it was determined that the most common (f:9, 36%) 4/4 measure was used. Rhythmic melodies in which the owl symbol was used; It is seen in many regions (cities) of Anatolia such as Nevşehir, Amasya, Erzincan, Uşak, Diyarbakır, Tokat, Muş, Çorum, Bursa, İzmir, Ardahan, Antalya, Kırşehir, Sivas, Malatya and Adana. While non-rhythmic melodies were detected in Sivas, Kırşehir, Malatya, Kars and Elazığ regions, they were mostly seen in Sivas folk songs.