Türk Kültürü ve Hacı Bektaş Velî Araştırma Dergisi (Sep 2024)

VEYSEL’İN SAZA ATFETTİĞİ YAKLAŞIMLARIN MÜZİKOLOJİK BAĞLAMDA ANALİZİ, ‘ÇALIŞTIM SESİNİ SESİNE KATTIM’

  • MUSTAFA DAĞDEVİREN

DOI
https://doi.org/10.60163/tkhcbva.1430286
Journal volume & issue
no. 111
pp. 159 – 172

Abstract

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Âşık Veysel, one of the most important representatives of our country in the minstrel tradition, attributed to him by UNESCO in 2023, is a poet who has made a name for himself in the world with his words and accompanying instrument. The focus of this study is on the cultural missions that Âşık Veysel attributed to the instrument, which is a part of his musical heritage, and the place of these missions in his life and his connection with the instrument. In his works, he described the instrument as an instrument that sounded organologically, as well as in a cultural perspective by using ethno-organological approaches, like many minstrels with examples in the tradition. Veysel has communicated and interacted with his instrument by putting it into his life beyond a metaphor in the perspective of concepts such as confidant, friend and yaren. The saz (bağlama), which is studied within the discipline of organology as an instrument, has been examined in the context of ethno-organology of ethno-musicology in a cultural perspective due to the cultural missions that minstrels culturally attribute to their instruments. As with many minstrels, Veysel has put his relationship with his instrument into his lyrics and presented it to us by combining it with his music. In this study, the relationship between the minstrel and the saz, which is in the minstrel tradition, was determined as the main focus by examining the cultural meanings that Veysel attributed to the instrument during his speeches and statements, as well as his works in which he conveyed his feelings about his instrument, which was his companion at every moment of his life. In this study, in which scanning and document analysis method was preferred, semiotics method was also used. The products that Veysel attributes to his instrument in his works are in both organological and ethno-organological contexts.

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