ortak_miras_final

uhları kovmada faydalanılan bir alet olma yanında “velilik,
ululuk” simgesi özelliğine de sahiptir (Ögel, 1987b:
5). Hakkındaki ilk açık bilgilere Uygur metinlerinde rastlanır.
Uygur hükümdarlarından İdikut adı verilen Bögü
Kağan’ın gayet güzel kopuz çaldığı zikredilir. At kılından
ve tek telli olarak yapıldığı, dini işlevler de üstlenen kam,
baksı, ozanların çaldığı ve sesinin iyi ruhları çağırıp kötü
ruhları kovduğuna inanılan bir çalgıdır. Kırgız Türkleri
arasında lirik türkü söyleyicileri ve aşk destanlarını anlatan
akınlar “komuz” çalarlar. Altay Türklerinin de başlıca
musiki aletlerinden biridir. Dede Korkut Kitabı’nda “kolca
kopuz getürüp ilden ile bigden bige ozan gezer” ifadesi
gibi kopuzla ilgili pek çok ibare yer alır. Kopuz, daha sonra
farklı coğrafyalarda değişip gelişerek bugün bağlama adıyla
bilinen sazların atası olarak kabul edilir.
Araştırıcılar, bağlama adı verilen tezene veya parmakla
çalınan çalgı/çalgıların diğerlerine göre başat bir unsur ve
tam anlamıyla bir Türk çalgısı olduğunu belirtirler (Reinhard,
2007: 86). Bu sazlar değişen ebatlarına, tel sayılarına
veya icra ortamlarına göre farklı adlar alırlar. Küçük
olanlara genellikle cura, büyüklere divan sazı, meydan sazı
denir ve Türk dünyasının pek çok bölgesinde örnekleri
bulunur. Anadolu’da “meydan sazı, divan sazı, bağlama,
bozuk, şeştar, tambura, çöğür, cura, bulgarı, tar, üçtelli”
gibi çeşitleri görülen telli çalgının, Orta Asya Türkleri arasında
“dombıra, dutar” adlarıyla bilinen çeşitlemeleri vardır.
Anadolu’da “tırnak kemane” adıyla bilinen ve özellikle
widely used in Erzurum, Kars, Gümüşhane and Erzincan regions
and today it is also favorite among folk music groups in various
places of our country. In the case of polyphonic music group, it is
essential to use a variety of keys, in order to show the sounds of
each instruments in the closest way to the height of the hearing.
Mey can be used competently as a solo instrument in the group.
In group performances, mey can play melody, accompany and
perform ”dem” (to accompany an instrument with another instrument
or sound.) Forms of present-days consist of three parts: the
main body, the reed and the clip attached to the reed. The samples
in Azerbaijan and Turkmenistan are slightly longer and have a
loud sound. Evliya Çelebi mentions mey as “Turkmen reed pipe”
and says that he is known as “belban, balaban” in Central Asia.
The eight-hole “Baliman”, which is used among Uighur Turks and
stolen in the flat, is the same type of instrument. The eight-hole
“Baliman”(Arslan-Öger, 2007: 79), which is used among Uighur
Turks and played by holding straight way, is among the same type
of instruments.
One of the considerable mutual thing of the Turkish common music
culture is the stringed instruments. As of viewing from the earliest
written sources, strings, with a wide range of nomenclature, are
used in a sense that carved from the trees that usually believed to
be blessed, and strings made of hair from flowing mane horse are
installed and in the sense that it has a sacred meaning. It is stated
that, when looking through to the origin of these instruments, we
are confronted with the thoughts and traces of the Turkish equine
culture, they are all “ smitten with and faithful to the sounds of
horse hair”. Among Turks, the traces of stringed instruments first
appear in the murals found during excavations in the Middle Ages
in Central Asia. People are thought to realize their communication
with the music firstly by imitating the voices they hear in nature.
Human being is presumed to imitate the whistling sounds that the
breezy winds make by striking the broken reeds in the reedies and
also the sounds they have made in their painful and joyful days are
believed to give their first musical feelings. The early Turks were inspired
by the sound came from the arrows they used to hunt or fight,
and they used it as a musical instrument (Gazimihal, 1958:5-7).
Kopuz (Lute), is the oldest of string instruments. Besides being a
tool that is used for pedagogy and evil spirits, it also has the symbolism
of “ holy man, supremeness”. (Ögel, 1987b: 5). The preliminary
vivid information about it is found in Uighur texts. Buğgü
Kağan who is called İdikut from Uighur rulers is mentioned as
playing Kopuz very well. It is such an instrument that is made up
of horsehair and one-stringed, undertaking religious functions,
such as kam and baksı played by ozans (minstrel) and its sound is
believed to call up good spirits and dismiss evil spirits. Among the
Kyrgyz Turks, lyric folksongs performers and love epic improvisers
play “lute”. It is also is one of the main musical instruments of the
Altay Turks. In the Dede Korkut Book, there are a lot of phrases
about kopuz like the expression “kolca kopuz getürüp ilden ilebig-
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