Dinç, Ueyesi Ayseguel; Ünlü, Ueyesi Levent

A detailed examination of the musical practices specific to Erzincan's wedding tradition and the transformation of its repertoire over time requires field-based research to better understand the region's contemporary cultural structure. This study investigates how wedding music traditions in Erzincan have evolved over time and in what ways they have changed. It seeks to uncover the place and function of musical elements that reflect the cultural diversity of this geography within the broader cultural fabric of Erzincan, by closely examining wedding music practices that stand out within the region's rich cultural identity. The research documents long-standing musical practices observed in Erzincan weddings, identifies changes in the repertoire, and evaluates the impact of these changes on traditional musical expressions within the local culture. In this context, the study employs qualitative research methods to explore the role of music within its spatial and cultural environment. Beginning with a literature review, the research focuses on music and its related cultural structures, aiming to interpret the dynamics of cultural transformation. This research adopts an ethnomusicological fieldwork approach and was conducted in the city center of Erzincan. Techniques such as field observations, face-to-face interviews, field notes, and repertoire comparisons were employed throughout the study. Data were collected from a participant group consisting of five musicians familiar with the region's cultural structure and musical heritage; four young individuals (two women, two men) who regularly attend weddings; and four elderly participants in their seventies (two women, two men). The younger participants were between the ages of 18 and 25, while the older group included individuals aged 60 and above, according to the United Nations definition. This diversity in the participant profile enables a multidimensional evaluation of the role of music across age, gender, and cultural contexts. The study, which aims to document the musical repertoire performed at weddings in Erzincan from the perspectives of both musicians and listeners, focuses on structural and functional changes in the repertoire. Findings indicate that Erzincan-specific pieces in 4/4, 6/8, 2/4, and 9/8 meters-particularly the Erzincan Duz Halay & imath; and folk dances from other regions-continue to be performed. However, local pieces such as Sivingin Ucu and Tavuk Bar & imath;, which were once popular, are no longer in demand today. Participants stated that Ankara-style dances are especially popular at weddings, and that the decline in musical diversity has led to a narrowing of the repertoire and a limitation of the expressive range in folk dances, as well as the emergence of short-term trends that undermine cultural continuity. In support of this, interviewees noted that dances such as Ankara dances, Southeastern halays, kolbast & imath;, and horon are often preferred over Erzincan-specific folk dances. It was observed that the Erzincan wedding repertoire has expanded with musical pieces from different regions, and is shaped by popular songs selected according to the season or timing of the wedding, with transient trends playing a decisive role in repertoire formation. The narratives of the participants indicate a transformation process in which the traditional understanding of performance based on collective singing accompanied by local instruments has been replaced by individualized performances and the widespread use of digital music. Elderly participants recalled that, in the past, folk songs were sung collectively with drum and zurna in the Erzincan city center; in Kemaliye, solo performances accompanied by clarinet, c & uuml;mb & uuml;& scedil; and darbuka were more prominent, while in weddings where asma davul and zurna were not present, 'dem & ccedil;evirme' folk songs were performed. According to the common opinion of the participants, nowadays, music is mostly performed by a soloist accompanied by an electronic org or the songs brought by the wedding guests on portable memory sticks are played through a computer. Older participants emphasized that they find this new form of performance quite noisy and that individual participation in the music has become almost impossible. The study revealed that the wedding music repertoire in Erzincan has undergone a transformation not only in terms of content, but also in terms of performance style, function and level of cultural representation. The collective forms of singing that appeal to the collective memory in traditional music have been replaced by individualized performances and standard repertoires carried over digital media. This transformation is not only a technical change, but also a redefinition of social relations, intergenerational transmission and the ceremonial function of music. Participant statements show that the music performed at weddings is no longer a tool that carries local cultural memory as in the past; instead, it has become more consumption-oriented and appeals to periodical tastes. In this respect, weddings in Erzincan provide a dynamic social ground that shows both how the traditional is transformed in the contemporary context and how cultural identity is reconstructed through music.

Diken, Hasan Ali

Diken, Hasan Ali

Naldan, Funda

Köy odaları, yolcuların misafir edilip, her türlü ihtiyaçlarının karşılandığı, Anadolu’da köy veya kasaba gibi küçük yerleşimlerde karşımıza çıkan yapılardır. Mimari bakımdan sade olan bu yapılar, sosyal ve kültürel değerler açısından zengindir. Köyün ileri gelenleri veya köy halkının birleşerek yaptırdığı köy odaları sonuç olarak köyün ortak malı olarak kullanılmaktadır. Bu mekânlar, genellikle oda ve buraya gelen misafirin hayvanı için ahır gibi bölümlerden oluşur. Televizyon ve radyo gibi iletişim araçlarının olmadığı yıllarda köy halkı da bu odalarda toplanıp sohbet ederlerdi. Köyün zenginleri veya halkın birlikte yaptığı bu odalar, köyün ortak malı olarak kullanılmıştır. Ancak ulaşım sorununun çözülmesi, göç etme ve teknolojik gelişmelere bağlı olarak bu odalara duyulan ihtiyaç ortadan kalkmıştır. Folklorik ve sanatsal özellikler bakımından bu odalar, Türk halk mimarisinde ve kültüründe misafirperverliğin somut mekânları olarak önemli bir yere sahiptir. Bu çalışmada 2018 yılı Çayırlı ilçesinde incelenen Başköy köy odaları tanıtılacaktır. İlçe geneli ile aynı mimari özelliklerde inşa edilmiş bu odalar, tek katlı, ahşap tavanlı, yığma tekniğinde moloz veya kaba yonu taş malzeme kullanıla- rak yapılmıştır. Örtü düzeni bakımından Dursun Koçgil odasının tavanı, kırlangıç örtülü olduğundan diğer iki oda tavanından farklılık göstermektedir. İncelenen odalar içinde Dursun Koçgil’in odasında ahşap taşıyıcı ve terekte süslemeye rastlanmıştır. Sade bir işçilik gösteren bu süslemeler ahşap oyma tekniğinde bitkisel ve geo- metrik türde süslemelerdir. Diğer odalarda herhangi bir süslemeye rastlanmamıştır. Başköy köy odalarının se- çilmesinin nedeni ise daha önce bu konu hakkında bir çalışmanın yapılmamış olmasıdır. Erzincan-Çayırlı ilçe- sine bağlı Başköy’de bulunan üç köy odası yerinde incelenmiştir. Evlerin sahipleri veya köy halkı ile görüşüle- rek evlerin genel durumu, kime ait olduğu gibi bilgiler ışığında odalar tarihlendirilmeye çalışılmıştır. Odaların yapısal özellikleri dışında folklorik özellikleri de ele alınmıştır. Bu mekanlarda oturma düzeni, ikramlar, sohbet konuları gibi bilgiler köyün ileri gelenleri veya köy halkından edinilmiştir. Türkiye geneli ile benzer tipolojiyi yansıtan bu odalar kültür varlıkları içinde folklorü ve mimarisi kaybolmaya yüz tutmuş önemli yapılardır. Oda- ların, hem kullanım amaçları hem de mimari özelliklerine değinilerek Anadolu köy odaları arasında farklılıkla- rının yanında benzer özellikleri de ortaya konulmuştur. Genel olarak daha önce bir çalışmaya konu olmamış bu odalar, plan ve mekân kurgusu, malzeme ve teknik, süsleme özellikleri ve folklorik özellikler bakımından tanı- tılacaktır. Yörenin halk folklorünü yansıtmış olan bu odalar sosyal dayanışma mekânları ve geleneksel kültürü devam ettirme anlamında somut olmayan kültürel miras içindeki yerinin belirginleşmesi ve korunması için bu odaların yeniden işlevine kavuşması bu kültürün devam ettirilmesi için önemlidir. Günümüzde yapılar, köy halkının toplandığı ve dışardan gelen misafirlerin ağırlandığı mekanlar olmaktan çok uzaktır. Odaların aslına uygun bir şekilde onarılması ve yeniden işlevlendirilerek kazanılması gerekmektedir.

Naldan, Funda

Village chambers are the structures where passengers are welcomed, any and all requirements of the passengers are covered and which we encounter in small settlements such as village or town in Anatolia. These architecturally plain buildings are rich in social and cultural values. Village chambers built by the villages notables or village people are used as a common property of the village. These spaces generally consist of divisions such as room and barn for the animal of the coming guest. People in villages were used to gather in such rooms and have conversations in the years when communication means such as television and radio did not exist. It is known that those people whose financial situation was good had these rooms constructed and consequently, they have been used as common property of the village. However, the need felt for such rooms disappeared by depending on the settlement of transportation problem, immigration and technological developments. These rooms have an important place in Turkish people's architecture and culture as concrete spaces of the hospitality in terms of folkloric and artistic properties. In this study, three rooms examined in the district of cayirli in 2018 will be introduced. These rooms which were constructed in the same architectural properties as the whole district, were built by using rubble or pitch-faced stone as material in the single-layered, wooden ceiling style and masonry technique. In terms of cover layout, the ceiling of the Dursun Kocgil room differs from the other two rooms because it is covered with a swallow. Wood carriers and ornaments were found in Dursun Kocgil's room among the examined rooms. These ornaments, which exhibit a simple workmanship, are vegetable and geometrical ornaments in wood carving technique. No decorations have been found in other rooms. The reason for choosing Baskoy village chambers is that no study has been done on this subject by now. Three village chambers in Baskoy in Erzincan-caynth district were examined on-site. By discussing with the owners of the houses or the people of the villages, it was tried to date the rooms in the light of the general condition of the houses and whom they belong to. Apart from the structural features of the rooms, their folkloric features have also been discussed. In these places, information such as seating arrangement, refreshments, chat topics were obtained from the village's notables or village people. These rooms reflecting a similar typology throughout Turkey are the important structures whose folklore and architecture have begun to lose out within the cultural assets. By mentioning both the architectural purposes and the architectural features of the chambers, similar differences were also revealed among the Anatolian village chambers. These rooms that have not been a subject for any study previously will be introduced in terms of plan and space setup, material and technique, ornamental properties and folkloric features, and it is estimated that competent authorities will emphasize this subject in this regard. Re-functioning of these rooms which reflected the public folklore of the region is important for concretizing and protecting the place of such rooms within the cultural heritage in the sense of sustaining the social solidarity spaces and traditional culture. Today, the buildings are far from being places where the people of the village gather and entertain guests from outside. The rooms must be repaired in accordance with the original structure and thus re-functionalized and recovered.