Daimi, Cengiz

There has been a lot of research on Pir Sultan and the Guild of Pir Sultan, his personality and his struggle. However, a part of his memorials has been handled by disconnecting them from the context of all other themes. These are the Guild of Pir Sultan in Tunceli/Dersim and the Pir Sultan Memorial Center in Azerbaijan. We have determined four important memorials while tracking Pir Sultan in the historical course. These are Sivas - Banaz, Tokat-Çambulak, Dersim-Hacılı and Ganja-Pir Sultan Memorial in Azerbaijan. There is sufficient literature on the first two of these memorials. However, our knowledge about the last two memorials is either limited or nonexistent. Pir Sultan was exiled before his execution and went to Iran-Ardabil, and after his return he lived in Dersim for 15 years in exile. The Domicile of Pir Sultan and the Guild of Pir Sultan, located today in Pülümür-Hacılı, dates back to his years of exile. Having a 500-year history, this Guild and Domicile constitute an important place in the culture of faith. The Pir Sultan Visitor Center, the Pir Sultan Mountains and the village of Pir Sultan, located in Azerbaijan-Ganja, also have a respected place in this region. These sacred places have their own creations, which are reflected in the Azerbaijani folk literature. Our research is based on the last two memorials. Commemorating Pir Sultan Abdal only within the surroundings of Sivas and Tokat will narrow down his space. Therefore, the research on Pir Sultan should be concentrated on the last two memorials as well. These last memorials are still untouched. Field research should be concentrated in this area. Archives should be re-examined in the context of these memorials.

AtıfOpenAlex1

İncele

Yildirim, Tuncay

In this study, the Early Republican period national music policies is analyzed impacts to processes emergence the idea of sociology of music in Turkey. The aim of the research, the applied national music policies is put fort impacts processes the emergence the idea of sociology of music in Turkey. Research datas, by using the literature scanning technique and content analysis methods is put together from articles of their wrote about the national music policies between 1923-1944 of some musicologists expressing opinion in this context and sociologist of the period. In this context, the articles of Ziya Gökalp, İsmail Hakkı Baltacıoğlu, Nurettin Şazi Kösemihal, Rauf Yekta Bey, Mahmut Ragıp Gazimihal and Halil Bedii Yönetken are analyzed. As a result of the research the Republican period applied national music policies, by initiating discussions on the sociology of music among musicologists and sociologist of the period, has been seen contributed a positive on the emergence the idea of sociology of music in Turkey.

AtıfOpenAlex3

İncele

Kaval, Yılmaz; Taş, Sibel

Mountain goats are timid animals and live in the remotest parts of the mountains. These creatures have been accepted as mysterious creatures for centuries because they live far from the living space of humans, and thus have been the subject of many symbolic appearances. Mountain goats, which we encounter with their divine features in mythological times, have been the subject of folklore, belief, art, architecture in various meanings until today. Mountain goats, which are also seen in Tunceli folklore and beliefs, are accepted as sacred and blessed creatures among the people in the region. Although they roam in flocks in the Tunceli mountains, there is a belief among the local people that these creatures were not abandoned. These creatures, which are accepted as sacred by the people, are accepted as the symbol of Hızır with their fast and agile nature, and they are also accepted as sacred personalities such as Ana Fatma and Düzgün Baba. The belief that the people who hunt them will face adverse events that cannot be compensated, as it is considered as one of the biggest sins to hunt and harm these creatures, which are associated with people who are considered sacred in the belief of the Tunceli Alevi. In this study, our aim is to serve the folklore of Tunceli by explaining the folk beliefs about the mountain goats believed to be sacred and lucky in Tunceli.

AtıfOpenAlex4·TR Dizin3

İncele

Kara, Huseyin; Erdoğan, Göktürk

Baglama/saz, one of our ancient folk music instruments performed in almost every region of Anatolia, stands on a significant point in teaching and transmission of our traditional music. It is known that the baglama/saz instrument, which has varieties such as Meydan, divan, tanbura and cura and is generally produced from mulberry tree, is begun to be structurally produced by alternative production methods in addition to the traditional ones. Comparison of these alternative production methods with traditional baglama/saz production methods proves for certain that this instrument has a dynamic line and that the potential of this instrument in this sense is open to new sounds. In present article, the historical adventure of baglama/saz and the music culture of Tunceli region are briefly explained and the process of baglama/saz production as well as the questions whether there are alternative/experimental studies in the production of this instrument and what kinds of searches there are, if any, are discussed. The study was designed as a field study within the scope of qualitative research design, and accordingly, literature review, observation and document review were carried out. In addition, the data obtained during face-to-face interviews conducted between 17.10.2018 and 10.01.2019 with source people living in the region were included in the research findings.

AtıfOpenAlex2·TR Dizin1

İncele

Kaval, Yılmaz; Ozcan, Derya

Sözlü anlatı geleneğinin bir parçası olarak masallar, bir kültür mirası şeklindegünümüze ulaşmış en eski ürünlerdendir. İnsanların masal türüne dair temel beklentisiolağanüstülükler üzerine kuruludur. Masallarda görülen olağanüstülüklerin en ilgi çekiciolanlarından biri herhangi bir masal kahramanının çeşitli sebeplerle şekil değiştirerekbaşka varlıklara dönüşmesidir. Bu dönüşüm bazen kahramanın iradesi ile bazen de iradesidışında gerçekleşir. Bu türde aslında şekil değiştirme zor durumdaki kahramanı kurtarma,ödül ve ceza işlevleriyle kullanılmakta ve işlev tamamlandıktan sonra cezalandırmadışındaki şekil değiştirmelerin geriye döndüğü görülmektedir.Tunceli ilinden derlenen masallar içinde de şekil değiştirmeye yer verilmiştir. Bu motifinöne çıktığı masallar Tunceli ilinde dokuz kaynak kişiden derlenmiştir. Derlenen on birmasala göre şekil değiştirme motifi; taşa dönüşme, hayvana dönüşme, bitkiye dönüşme,suya dönüşme, tabiatüstü varlıklara dönüşme, madene dönüşme ve insana dönüşme altbaşlıkları dâhilinde ele alınmış ve bu motifin masallardaki işlevi ve bağlamı incelenmiştir.

AtıfOpenAlex1·TR Dizin1

İncele

Erdoğan, Göktürk

The Baglama instrument which dates back to Middle Asia orginally and has thousands years of historical back ground in Turkish Culture,has formed an exceptional place in performing and transmitting our traditional music. Nowadays,the Bağlama Instrument which has widely been known and performed among traditional instruments in Anatolia incontestable, lives and has still been performed among Alevi-Bektashi music practices as well as Asıklık(Folk Pets with Bağlama) customs with hundred years of repertoire.In order to be continous of the performing customs in question and transmitting the Turku repertoire from generation to generations,The Balgama producing custom takes very important place.Thus when it is considered in this way,Sivas town has been one of the habitats for aşıks/Folk Poets and performers with its music culture in Anatolia. The research question of this study focused on is “How do they carry on custom producing of The Bağlama and by Who? This study which has been carried on by means of qualitative research techniques has been achieved by using face to face surveying technique that was formed by the researcher and it was prepared via data collecting techniques with half completed surveying form and observation. The study was carried on three live sources who were stated as The Baglama making craftsmen and interviewed in Sivas center between November30th and December 20th, 2014. The names of the source people were also declared with their personal permission. As a result of the study,two important professional problems have been found out as well as having reached some certain detailed knowledge about the traditional Baglama pruducing techniques. First of them,the process of prentice training has almost ended up and second, The Baglama Craftsmen have only taken part in production phase of the profession since they donot have any gained experience of performing it before.

AtıfTR Dizin1

İncele