Transformation of Rhythm into Ritual in Turkish Sufi Music -Şanlıurfa Hymns-

Songül Çakmak

Article Details

Transformation of Rhythm into Ritual in Turkish Sufi Music -Şanlıurfa Hymns-

Authors:

Songül Çakmak

Publisher:

Motif Yayıncılık

Main Topics:

Dini Musiki

Journal:

Motif Akademi Halkbilimi Dergisi Vol.16 Issue 44, pp.1859-1879

Document Type:

Article

Publication Date:

12/2023

Document Language:

Turkish

Document ID (Org No.):

2001305898

pISSN:

1308-4445

Keywords:

Abstract:

 Rhythm, which emerged naturally before the formation of the first musical genres, is one of the ways of protection against visible and invisible supernatural forces by hitting objects together and is one of the most important tools that form the main skeleton of music. In the main axis of religious music, Shamans entering into ecstasy with rhythm and dancing with rhythm is the source of an important transformation. Based on Mevlanas stories, the sema show, which occurs after ecstasy from the regular rhythm of gold beating, shows that the religious practice inherited from the Shaman continues spiritually and its continuity is ensured with its ritual dimension. The combination of tradition with culture and its continuation as an effective chain of belief varies depending on the basis and frequency of use in the spatial context. The study is about the realization of various rituals through doubles, based on the doubles recited by folk artists in the Şanlıurfa region. It was based on the questions of how Turkish Sufi music became widespread among the people under the name of Çifteler hymn and turned into sema, semah or dhikr, and which quality was effective in ensuring its continuity. Many of the people in the Sufi group called Çifte in Şanlıurfa are hafiz. Çifteler is usually performed with tambourine accompaniment. The modal structure gains variety with sound, thus ensuring the permanence and continuity of the lyrics. In addition to the modal features that make Turkish Music forms widespread among the public, it is also the power of diversity in rhythm to appeal to different emotions. Religious forms such as kaside, mawlid and hymns performed in different rhythms can be sustained due to their wide context. In this study, the effective power of belief in the transformation of rhythm into ritual, as well as the provider of social unity and solidarity, will be mentioned, and the roles of these musicians in the Şanlıurfa region in this formation, their contributions to the development of Turkish Classical Music  Turkish Folk Music genres, and their ability to use Turkish music in different forms will be mentioned. It was deemed appropriate to conduct netnographic research on this collective musical culture sharing, which traditionally transforms religious belief into action. This research method was preferred because the context in which the rituals take place is limited to the male autonomous area dhikr and different belief practices Alevi semah are closed to the public. Apart from these difficulties of context-centered approaches, the important role of the doubles in the transition between divan literaturefolk literature, which combines two different types of music, has been tried to be explained by conducting oral source interviews and scanning the literature.

 Rhythm, which emerged naturally before the formation of the first musical genres, is one of the ways of protection against visible and invisible supernatural forces by hitting objects together and is one of the most important tools that form the main skeleton of music. In the main axis of religious music, Shamans entering into ecstasy with rhythm and dancing with rhythm is the source of an important transformation. Based on Mevlanas stories, the sema show, which occurs after ecstasy from the regular rhythm of gold beating, shows that the religious practice inherited from the Shaman continues spiritually and its continuity is ensured with its ritual dimension. The combination of tradition with culture and its continuation as an effective chain of belief varies depending on the basis and frequency of use in the spatial context. The study is about the realization of various rituals through doubles, based on the doubles recited by folk artists in the Şanlıurfa region. It was based on the questions of how Turkish Sufi music became widespread among the people under the name of Çifteler hymn and turned into sema, semah or dhikr, and which quality was effective in ensuring its continuity. Many of the people in the Sufi group called Çifte in Şanlıurfa are hafiz. Çifteler is usually performed with tambourine accompaniment. The modal structure gains variety with sound, thus ensuring the permanence and continuity of the lyrics. In addition to the modal features that make Turkish Music forms widespread among the public, it is also the power of diversity in rhythm to appeal to different emotions. Religious forms such as kaside, mawlid and hymns performed in different rhythms can be sustained due to their wide context. In this study, the effective power of belief in the transformation of rhythm into ritual, as well as the provider of social unity and solidarity, will be mentioned, and the roles of these musicians in the Şanlıurfa region in this formation, their contributions to the development of Turkish Classical Music  Turkish Folk Music genres, and their ability to use Turkish music in different forms will be mentioned. It was deemed appropriate to conduct netnographic research on this collective musical culture sharing, which traditionally transforms religious belief into action. This research method was preferred because the context in which the rituals take place is limited to the male autonomous area dhikr and different belief practices Alevi semah are closed to the public. Apart from these difficulties of context-centered approaches, the important role of the doubles in the transition between divan literaturefolk literature, which combines two different types of music, has been tried to be explained by conducting oral source interviews and scanning the literature.

 Rhythm, which emerged naturally before the formation of the first musical genres, is one of the ways of protection against visible and invisible supernatural forces by hitting objects together and is one of the most important tools that form the main skeleton of music. In the main axis of religious music, Shamans entering into ecstasy with rhythm and dancing with rhythm is the source of an important transformation. Based on Mevlanas stories, the sema show, which occurs after ecstasy from the regular rhythm of gold beating, shows that the religious practice inherited from the Shaman continues spiritually and its continuity is ensured with its ritual dimension. The combination of tradition with culture and its continuation as an effective chain of belief varies depending on the basis and frequency of use in the spatial context. The study is about the realization of various rituals through doubles, based on the doubles recited by folk artists in the Şanlıurfa region. It was based on the questions of how Turkish Sufi music became widespread among the people under the name of Çifteler hymn and turned into sema, semah or dhikr, and which quality was effective in ensuring its continuity. Many of the people in the Sufi group called Çifte in Şanlıurfa are hafiz. Çifteler is usually performed with tambourine accompaniment. The modal structure gains variety with sound, thus ensuring the permanence and continuity of the lyrics. In addition to the modal features that make Turkish Music forms widespread among the public, it is also the power of diversity in rhythm to appeal to different emotions. Religious forms such as kaside, mawlid and hymns performed in different rhythms can be sustained due to their wide context. In this study, the effective power of belief in the transformation of rhythm into ritual, as well as the provider of social unity and solidarity, will be mentioned, and the roles of these musicians in the Şanlıurfa region in this formation, their contributions to the development of Turkish Classical Music  Turkish Folk Music genres, and their ability to use Turkish music in different forms will be mentioned. It was deemed appropriate to conduct netnographic research on this collective musical culture sharing, which traditionally transforms religious belief into action. This research method was preferred because the context in which the rituals take place is limited to the male autonomous area dhikr and different belief practices Alevi semah are closed to the public. Apart from these difficulties of context-centered approaches, the important role of the doubles in the transition between divan literaturefolk literature, which combines two different types of music, has been tried to be explained by conducting oral source interviews and scanning the literature.

 Ritim, ilk müzik türlerinin oluşumundan önce doğal olarak ortaya çıkan, ilk insanın nesneleri birbirine vurarak, görünengörünmeyen doğaüstü güçlere karşı korunma yollarından biri ve müziğin ana iskeletini oluşturan en önemli araçlardandır. Din musikisinin de ana ekseninde Şamanın ritm ile vecde girmesi ve ritim ile dans etmesi önemli bir dönüşümün kaynağı durumundadır. Mevlâna hikayelerinden yola çıkarak altın dövülmesinin verdiği düzenli ritimden vecd sonrası oluşan sema gösterisi, Şamandan intikal eden inançsal pratiğin ruhsal olarak devam ettiğini ve ritüel boyutuyla sürekliliğinin sağlandığını göstermektedir. Geleneğin kültürle birleşmesi ve inancın etkin bir silsilesi olarak devam etmesi, mekânsal bağlamda kullanılma zemini ve sıklığına göre değişmektedir. Çalışma, Şanlıurfa bölgesindeki halk sanatçılarının okuduğu çiftelerden yola çıkarak, çifteler aracılığıyla çeşitli ritüellerin gerçekleşmesini konu almaktadır. Türk tasavvuf müziğinin çifteler ilahi adıyla halk arasında nasıl yaygınlaşıp sema, semah veya zikre dönüştüğü, hangi niteliğinin sürekliliğinin sağlanmasında etken olduğu sorularından hareket edilmiştir. Şanlıurfada çifte denilen tasavvufi grupta yer alan kişilerin birçoğu hafızdır. Çifteler genellikle def eşliğinde seslendirilir. Makamsal yapı ses ile çeşitlilik kazanarak, böylece güftenin kalıcılığı ve sürekliliği sağlanmış olur. Türk Musikisi formlarının halk arasında yaygınlığını sağlayan makamsal özelliklerin yanı sıra ritimdeki çeşitliliğin farklı duygulara da hitap etme gücüdür. Farklı ritimlerde seslendirilen kaside mevlid, ilahi gibi dini formlar, bağlamlarının geniş olmasından kaynaklı sürdürülebilmektedir. Bu çalışmada ritmin ritüele dönüşümünde inancın etkili gücünün aynı zamanda toplumsal birlik ve beraberliğin de sağlayıcısı olma durumundan söz edilecek ve Şanlıurfa bölgesindeki bu musikişinasların bu oluşumdaki rollerinden ve Türk Sanat MüziğiTürk Halk Müziği türlerinin gelişimine katkılarından, Türk müziğini farklı formlarda kullanma yetilerinden söz edilecektir. Gelenekte dini inancı eyleme dönüştüren bu kolektif müzik kültürü paylaşımında netnografik alan araştırma yapılması uygun görülmüştür. Hava muhalefetinin olumsuz etkisi ve ritüellerin gerçekleştiği bağlamın erkek özerk alanla zikir sınırlı olması ve farklı inanç pratiklerinin Alevi semahı halka kapalı olmasından kaynaklı bu araştırma yöntemi tercih edilmiştir. Bağlam merkezli yaklaşımların bu zorlukları dışında müziğin iki farklı türünü birleştiren, divan edebiyatıhalk edebiyatı geçişinde, çiftelerin önemli rolü, sözlü kaynak görüşmeleri yapılarak ve literatür taranarak açıklanmaya çalışılmıştır.

Article Details

Transformation of Rhythm into Ritual in Turkish Sufi Music -Şanlıurfa Hymns-

Authors:

Songül Çakmak

Publisher:

Motif Yayıncılık

Main Topics:

Dini Musiki

Journal:

Motif Akademi Halkbilimi Dergisi Vol.16 Issue 44, pp.1859-1879

Document Type:

Article

Publication Date:

12/2023

Document Language:

Turkish

Document ID (Org No.):

2001305898

pISSN:

1308-4445

Turkish music

sufism

rıtual

doubles

rhythm

ŞanlıurfaTürk musikisi

tasavvuf

ritüel

çifteler

ritim

Şanlıurfa

Issues

Article Details

Authors: Songül Çakmak

Publisher: Motif Yayıncılık

Main Topics: Dini Musiki

Journal: Motif Akademi Halkbilimi Dergisi Vol.16 Issue 44, pp.1859-1879

Document Type: Article

Publication Date: 12/2023

Document Language: Turkish

Document ID (Org No.): 2001305898

pISSN: 1308-4445

Issues

Authors:

Songül Çakmak

Publisher:

Motif Yayıncılık

Main Topics:

Dini Musiki

Journal:

Motif Akademi Halkbilimi Dergisi Vol.16 Issue 44, pp.1859-1879

Document Type:

Article

Publication Date:

12/2023

Document Language:

Turkish

Document ID (Org No.):

2001305898

pISSN:

1308-4445