A study on using the discipline of pedagogic vocology in Turkish folk music vocal performance

Turkish Folk Music, which dates back centuries in the historical process, is the carrier of cultural tradition in a geography stretching from Central Asia to the Balkans. In particular, the traces of the cultural creations of various peoples and civilizations that have survived in this geography, which we have lived on for about a thousand years, appear in our folk songs. The diversity in this multicultural structure in Anatolia also manifests itself in the performance of folk songs. The distance of this performance diversity can sometimes be regional, sometimes as short as between two villages. These performance differences, which we describe with the terms "style" and "attitude", are evident in the vocals. When all these individual and regional differences are examined in terms of performance, it is seen that they show different phonation and ornamentation features. Ornamentation notes and symbols are among the elements that strengthen and color the music. Ornaments in music are of improvisational origin. The fact that the ornamentations are of improvisational origin does not mean that these ornamentations are performed with complete freedom and flexibility. Turkish Music, due to its unique structure, is a music that uses ornamentations very often and intensely. When ornamentations, which are encountered with different usage styles in various regions of our country, are considered in this context, certain sound techniques are used in vocal ornaments, which vary in frequency or variety. Some of these techniques, which can be found especially in Turkish Folk Music, are Vibrato, Sostenuto, recitatif, Sostenutolu Recitatif, wobble, falset beat, trill, trillo ornamentations. One of the most important forms of expression of Turkish Folk Tradition is Turkish Folk Music. Turkish folk music; it is a set of values in which the words, music, history, geographical features, social structure, anonymous feature and Turkish cultural values are reflected by the people. Turkish Folk Music expresses the life, feelings and thoughts of the people, the events experienced, the customs and traditions of the region with its unique features. It has an anonymous feature that has a common structure with the words sung with the instruments of the region and composed by the people. His unique attitudes contain the style of that region in his folk songs and folkloric structure. Individual singing styles and stylistic-attitude differences have a very important place in Turkish Folk Music. When Turkish Folk Music is examined from a melodic point of view, it is divided into two as performance. These; free rhythm melodies (unmetered folk song) and rhythmic / stylistic melodies (broken barks). Bozlaks are one of the unmetered folk song types in Turkish Folk Music. The factor in the formation of the Bozlak species is related to the manifestations and suffering of the people who produced the Bozlak. Usually, every grizzly has a story. The verse in Bozlaks emerged from these stories. Under all this information, in this study, it is aimed to analyze the vocalization techniques and ornamentations used by master performers who perform bozlaks, one of the unmetered folk song genres of Turkish Folk Music, by using the Pedagogical Vocology discipline and the Estill Sound Model approach. Here, the Estill Voice Model is a widely known voice training model for developing voice skills based on segmenting the voice production process to achieve control of certain structures in the voice mechanism. Pedagogical Vocology, on the other hand, is a discipline that enables voice performers to protect and develop their vocal health while singing, and to make this situation sustainable, rather than teaching them to sing. The analysis of the performance techniques of master bozlak performers is important in terms of creating an applicable working model for the performers who want to sing the bozlak unmetered folk song singing technique. This study is also important in terms of bringing together the perspectives and knowledge of two disciplines in different fields, such as music and medicine, and creating a joint study in the field of music. Considering the performances performed, the ornamentations and sound making techniques used by the master performers, although they exist within the common local performance style, each represents a separate school. Considering this aspect, the examination of the sound-making techniques and ornamentations used by Muharrem Ertaş, Neşet Ertaş, Hacı Taşan and Çekiç Ali, who are master performers of bozlak type unmetered folk songs, forms the basis of the study. Muharrem Ertaş, one of the bozlak performers included in the study, was born in 1913 in the village of Yağmurlu Büyükoba in Kırşehir province. In Muharrem Ertaş, an artist who is fully committed to tradition, the simplest, purest and distinguished bozlaks can be seen. One of the bozlak performers in the study is Hacı Taşan, a student of Muharrem Ertaş. Hacı Taşan was born in 1930 in Hacı Ali Obası village of Keskin district of Ankara at that time. Hacı Taşan frequently participated in programs as a guest artist of Ankara radio upon the invitation of Sarısözen. He usually played and sang the bozlak tunes of his region in a unique style. With the bozlaks he played and sang in this style, he contributed greatly to the development, popularity and spread of the bozlak, and especially to the Keskin region being an important bozlak center. Born in Meşe village of Kaman district of Kırşehir in 1934, Ali Ersan is Çekiç Ali, who is famous for his masterful performance of folk songs and bozlaks of the region. He was nicknamed "Hammer" for his agility and agility, as well as for his urgency, liveliness and dynamics in playing the instrument. While some of the folk songs sung by Çekiç Ali are mainly characteristic melodies of the local music culture, it is known that many of his works are composed of ballads and ballads. Neşet Ertaş was born in 1938 in Kırtıllar village of Kırşehir. Neşet Ertaş, known as "The Steppe's Talent", grew up in a family where musical performances were constantly performed. Neşet Ertaş is an artist who has always remained on the agenda with her extraordinary talent, her command of tradition, her commitment to the new without breaking with tradition, and the modern tastes and tendencies of new times. Neşet Ertaş's art; it is someone who grasps the essence of music, putting himself and his emotions into words with his unique style. Ertaş's every song, every whirlwind tells a part of his life full of separations, expatriates, poverty, longing, longing and pain. These four performers in the study also constitute the sample of the research. The study is a qualitative research designed with a multiple case study pattern. During the data collection phase of the study, firstly Bozlak performers were determined, and in the second step, four different bozlak performances from each of the four performers were selected for analysis. Some basic features were taken into consideration in determining the bozlak performances in the study. First of all, the Bozlak performances were selected by the performers, who are clearly understandable in terms of sound making techniques (phonation) and ornamentations (the use of throat-daggers) and with high technical skills. Since the analyzes of the vocal performances in the study were carried out on audio videos, it has become a necessity to have high sound quality in the determined videos. There are many different performances of the mentioned Bozlak performers in digital media (YouTube, Spotify, etc.) and in physically recorded areas (cassette, CD, etc.). In order to make the analysis of the data of the study healthy, among these existing recordings of the performers, the ones with high sound quality were preferred. While analyzing the bozlak performances of Bozlak performers, sound analysis programs called VoceVista Video, VoceVista Pro, Overtone Analyzer were used. As a result of the analysis made in the study, the sound phonations of bozlak and unmetered folk song types show similarities with some of the sound phonations in the sound system, and the similarities in the sound phonations of 4 bozlak performers were determined with graphics. Again, the physiological and anatomical processes of the bozlak performers show similarities during the performance, and it has been determined that certain techniques (phonations) are used in common in the performance of the bozlak unmetered folk song type. Again, the similarities in both auditory and visual analyzes of the ornomentations used by master performers in the bozlak long hava type performances show that certain ornomentations are used in the bozlak long hava type. The applicability of the master-apprentice training model, which is one of the most important training models of Turkish Folk Music, shows once again that it is a valuable training model as the 4 bozlak performers used in the study use similar sound phonations and similar ornomentations. In addition to supporting the master-apprentice training model, this study will enable this training system to be perceived and implemented faster, and to be used on a visual and objective platform. In this context, it is anticipated that this study will lead and support the studies in this field in the future and contribute to the provision of vocal training studies specifically for folk music. Master bozlak performers have unique signature sound phonations and ornomentations, as well as the vocal phonations and ornomentations that should be in the performance of the bozlak long hava type, which can be detected in the analysis of the works of these 4 bozlak performers. In this context, the necessity of using certain techniques and ornamentations in the performance of the bozlak unmetered folk song type has been revealed as a result of the study. Keywords: Turkish Folk Music, Estill Sound Model, Vocology, Ornamentation, Bozlak.