Asma davul accompaniment to zeybek melodies from past to present: a case study of turkish radio and television corporation and Menemen district in İzmir province

The concept of rhythm can generally be defined as the integrity of sound or movement that is formed by repeating in a regular way. Rhythm, one of the basic elements of music, ensures that melodies are performed regularly. Percussion instruments are used to perform rhythm. When it comes to percussion instruments used in Traditional Turkish Music, instruments such as asma davul, darbuka, bendir, tambourine and spoons come to mind. The asma davul, which constitutes the focal note of the research subject, is very important in Turkish culture. Has a place and is still used today in every region of Turkey. Is an instrument. It may vary in shape, size and material locally. The word Zeybek means the Efes living in Western Anatolia, but it also refers to folk melodies accompanied by dance. The Zeybek tradition refers to the unique behavior, struggles, clothing, instrumental melodies, folk songs and dances of a hero who stands by the poor, the orphaned and rebels against oppression. While Zeybeks were bandit groups living in Western Anatolia, they were identified with values such as bravery, courage and determination in the Aegean region starting with the War of Independence period and throughout the Republican period, and they gained a new identity and transformed from bandits into national heroes. Zeybek music culture, which is unique to Western Anatolia, includes both instrumental and spoken examples. In this culture, which is always intertwined with dance, the asma davul and zurna have a very important place. Apart from asma davul and zurna, instruments such as baglama, cura, divan saz, clarinet, trumpet, bendir, tambourine, darbuka, kaval, sipsi, kemane are also used in Zeybek music culture. This research was conducted to examine the asma davul accompaniments of folk melodies belonging to Menemen district of Izmir province and which have survived from the past to the present. Nine folk melodies with dance accompaniment in the TRT repertoire and three folk melodies with dance accompaniment not in the TRT repertoire were identified and the records of these folk melodies in the TRT archive and the records played by local performers were examined. The suspended asma davul accompaniments of these records were notated and it was aimed to create a source for future generations.