Ali Fuat Aydin

The melodies of Greek Rebetika Music are considered to follow dromos whose names are derived from the names of various Turkish maqams. Most of the Rebetika songs were often accompanied by stringed instruments like bouzouki and baglamas which were tuned in equal temperement and hence in direct conflict with the maqam system. Although these instruments were capable of playing chords according to the Western harmonic system, the Rebetika songs were harmonized in a manner which did not correspond with Western harmony. This paper aims to find out the melodic characteristics of Greek Rebetika Music by explaining the similarities and differences of the dromos with the maqams.

The aim of this study is to give brief information about camel wrestling events which are commonly held in Western Turkey at certain times in the year. Even today, camel wrestling shows are still important social events in part of Turkish society. The distribution of camel wrestling and the organizations in Turkey which promote them, and the economic and cultural significance of these events, will also be examined, especially since these wrestling events may provide new economic opportunities in terms of tourism.

Zeybek melodies, which come from the western part of Turkey, are significant elements in the Turkish folk music repertoire of that region. These melodies are mainly played on a combination of davul (drum) and kaba zurna (shawm) instruments, especially by musicians in the Aydın-Germencik and Muğla-Milas areas in that region. In an urban environment, performers of zeybek music recreate an idealisation of a regional repertoire which was, and still may be, transmitted orally from master to student or from father to son. But today the medium for transmission can vary. In this paper, specifically oral transmission techniques, and their effects on the regional melodic and rhythmic configurations, tonal systems, pitch deviations and ornamental devices of zeybek music in zurna playing will be examined.

The long-necked lute bağlama has been predicated the main folk instrument of Turkey, originated from Ancient Mesopotamia. In Anatolia the first instruments of this kind appeared in early Hittite time, approximately XVII. century B.C. Since then, in Anatolia nearly all civilizations have used this type of instrument in order to accompany singing voices, as a melody instrument, for rhythmical accompaniment, to work out homophonic structures and for theoretical guidance by means of fret distribution. These lutes have always represented a great variety in structure, stringing and tuning systems as well as performance styles. Bağlamas can be played both fingerstyles as well as by using a plectrum. Extraordinary right-hand techniques have been developed to perform very efficient rhythmic patterns. Different tuning systems support the efficiency of developing artfully melodies. In a bağlama performance, each of the player's hands holds specific functions. In coordination with the right hand, the left hand is dedicated to the melodic dimension. Apart from the rhythmic and melodic functions, a bağlama also serves as tool for working out homophonic or sometimes polyphonic accompaniments. This paper will present tuning systems of the bağlama most common in Turkey and will investigate their variations.

ÖZET
Özellikle 19. yüzyıldan başlayarak Batı Anadolu'da toplumu derinden etkileyen zeybekler, Ege'nin müzik, dans ve giysi geleneğinin bugünkü temelini oluşturmuştur. Çağdaş Türkiye Cumhuriyeti'nin kurulmasıyla birlikte misyonunu tamamlayan zeybeklik kurumu ortadan kalkarken onun yüzlerce yıllık kültürel birikiminin ürünü olan zeybek oyunları her türlü yerde icra edilmektedir. Batı Anadolu'da Türk Halk Müziği repertuarının temelini oluşturan ve ağır zeybek oyunlarına eşlikte kullanılan zeybek ezgileri Aydın ilinde açık alanlarda kaba zurna ekipleri tarafından icra edilmektedir. Kaba zurna ekiplerinin repertuarları incelendiğinde babadan oğula veya ustadan çırağa bir silsile içerisinde aktarılan yöresel bir repertuarın varlığından söz edilebilir. Ağır zeybeklerde zurnacı davulcu ve dansçı arasında görülen birbirini takip etme olayı ezgiye de özellikle ritm yönünden esneklik kazandırmakta, sözel eşliğin sıklıkla görülmediği ağır zeybeklerde dans eşliği esnasında gecikmeli bir icra şeklinin ortaya çıktığı görülmektedir. Bu bildiride genel olarak anılan sözlü aktarım tekniklerinde günümüzde meydana gelen değişim ve bu değişimin bölgenin ezgisel ve ritmik özelliklerine etkisi ele alınacak, usta-çırak silsilesi sonucu aktarılan örnekler üzerinde ezgi ve ritm açısından analizler yapılarak değişim süreci hakkında yorum yapılmaya çalışılacaktır.
ABSTRACT
Zeybeks had a considerable effect on the society in the West Anatolia starting especially in particular from the 19th century onwards, and established the present of the music, dance and costume traditions of the Aegean. Having completed its mission after the foundation of the Republic of Turkey, the zeybek identity disappeared, but zeybek songs and dances, the products of a culture survived for hundreds of years, prevail and are still performed at almost every opportunity. The zeybek melodies, which come from the western part of Turkey, are significant elements in the Turkish folk music repertoire of that region and these melodies which are used for accompanying to the slow zeybek dances from Aydin are mainly played by kaba zurna teams. If the samples collected in West Anatolia examined, one can mention about the existance of a regional repertorie which is used by local musicians transmitted through generations orally in a chain consisted in master-student relationship. In an urban environment, performers of zeybek music recreate an idealisation of a regional repertoire which was, and still may be, transmitted orally from master to student or from father to son. In slow zeybeks the relation among zurna performer, the drum performer and the dancer provides us a melodic and rhytmic flexibility, in the slow zeybeks the vocal accompaniment is rare, a delayed (ritardando) performance appears during the dance