Türk Halk Müziğimizde Toplu Çalma Söyleme Geleneği
Collective Play and Sing Culture of Turkish Folk Music

Summary/Abstract: One of the Vital Qualities of Turkish Folk Music is that it contains social history heritage. In this regard, products of folk music have a good number of artistic and sociologic qualifications at the same time in terms of historical context it also has a significant importance. Moreover, “icra” is the cornerstone part of Turkish Folk Music and it also reflects collective qualifications of Turkish Folk Music. Accordingly, when we cover the folk music, we should analyse correctly its musical qualifications also we should evaluate it through its historical evidences. Furthermore, when we cover the folk music, we should evaluate it according to its place of birth, place which the song was sang and also place which song reached its audience. We should not forget folk music has qualifications which can change region to region, local area to local area and it also contains very different playing style and singing style. Generally products in terms of structure and process integrated each other’s. This is important to understand correctly these products Today, Turkish folk music, because of the improper performances and practices which are not coherent with its traditional structure, estranged from its artistic nature and into entertainment music. Due to the choir concept which is not inherent in Turkish traditional folk music, in spite of the all efforts of local artists, “Collective Performance Tradition” of Turkish folk music started to be disappearing. During this process, it can be observed that, two types of folk music emerged in Turkey. First one is the folk music which is performed exactly in its traditional forms and the second one is the “urban” folk music, which is supported by the means of mass communication. In this context,transmission of this tradition, with its authentic performance forms, is one of the most important duties of our generation.

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