The analysis of the traditional dance music in Erzurum region in terms of the different parameters

In this study, it is aimed to reveal the traditional dance music, the mode scale and the rhythm features peculiar to Erzurum region. From this perspective, it is aimed to determine the general characteristics of the traditional dance music by analyzing the similarities between the traditional dance music and the Turkish art music mode and rhythm which are believed to carry the traces of the same roots and examining its differences and its performance in present time. The study is a descriptive research for the TRT (Turkey Radio Television) TFM (Turkish Folk Music) repertoire and in this study the surveys model and oral interview technique were used to obtain data from the traditional dance music. The universe of the study consists of 682 pieces of the traditional dance music which are included in the TRT Turkish folk music repertoire. The sample is composed of 29 (non-verbal) traditional dance music belonging to Erzurum region which are found in TRT Turkish folk music repertoire. As a result of the research, it has been found that totally 29 traditional dance music belonging to Erzurum region have similarities to 7 different mode scales. It was found that 12 works were in Huseynî mode scale with % 41.38 rate, 5 works in Uşşâk with % 17.25 rate, 4 works in Beyâtî with % 13.79 rate, 3 works in Çârgâh and Hicâz with % 10,34 rate and 1 work in Karcığar and the other was in Râst mode scale with % 3,45 rate. In the direction of the obtained data; it was understood that maximum 12 works of Erzurum traditional dance music included in TRT TFM were in Hüseynî mode scale. According to the ryhtm form of Turkish art music, it was found that among the traditional dance music peculiar to Erzurum, 6 works with % 20,68 were not compatible with 2 time Nîm Sofyan in beating forms of TAM (Turkish Art Music), 1 work with % 3,45 rate was not compatible with 3 time Semâî in TMA. 11 works with % 37,93 rate were not compatible with 4 time Sofyan, 2 works with % 6,90 rate were not with compatible with 5 time Turkish syncopated rythm, and 1 work with % 3,45 rate was not compatible with 6 time (4 + 2) in beating forms of TAM. It was also found that 4 works with % 13,79 rate were 9 time syncopated, 1 work with %3,45 rate were 9 time lilt, 1 work with % 3,45 rate were Raks syncopated rhythm, 2 works with % 6,90 rate were 10 time syncopated Semâî. In the direction of the obtained data, it was understood that the works were mostly composed of 2, 4 and 9 time rhythm forms. As a result of the analysis made for the formal structure of the traditional dance music belonging to Erzurum region, when section and sentence structure of the works were analyzed, it was found that 26 pieces were in sectional single (A) with % 89.66, 2 works were (a) with % 6,90 for the sentence structure, 5 works were (a+a') with %17,24 rate, 12 works were (a+b) with % 41,37 rate, 1 work was (a+b+a') with % 3,45 rate, 4 works were (a+b+c) with % 13,79 rate and 2 works were (a+b+c+d) with % 6,9 rate for the sentence structure. It was also concluded that 3 works were included in two-parts (A+B) with % 10,35 rate, 1 work was (a+b+c)+(d) with % 3,45 rate, 1 work was (a+b)+(a'+b') with % 3,45 rate and 1 work was (a+a')+(b+b') in terms of sentence structure. Through the opinions of expert and artist, it was concluded that the works of traditional dance music of Erzurum region were divided into two as play and non-play in terms of forms, and the works mostly consisted of bar style melodies. The living local performers playing the traditional dance music with clarinet and zurna in the region were recorded in voice and written and examined. As a result of these examinations, it was determined that there has been similarities and differences between the performance of the works of present time and the notes included in TRT TFM repertoire. These differences are thought to have been caused by local performers' learning by listening to the works and recording them with the master-apprentice relationship because the local performers do not know performing music with note. It has been determined that additions and subtractions made in performances arise from performance differences based on interpretation. Yet, it was understood that these differences did not change the main melody and rhythm in the works. Key Words: Erzurum Region, Turkish Folk Music, Traditional Dance Music.