Analysis of “uzun hava” performed in the Tokat/Reşadiye region with the “melody nukleus” method

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dc.contributor.authorKarakoç, Berat Talat
dc.contributor.authorTokaç, Murat Salim
dc.contributor.authorGüray, Cenk
dc.date.accessioned2025-10-11T20:45:30Z
dc.date.available2025-10-11T20:45:30Z
dc.date.issued2025
dc.departmentDüzce Üniversitesien_US
dc.description.abstractReşadiye region has an important place in the music culture of Tokat. Three of the seven “Uzun Hava” collected in the region belong to this region. It is known that the geographical region covering the districts of Reşadiye; Almus, Başçiftlik, Niksar and Akkuş (Ordu) has its own musical structure. In particular, “Uzun Hava” with a Çargâh tone (karar sesi) have melodic structure and motifs unique to the region. When the “Uzun Hava” sung in the region are examined, it is seen that the pitch of Çargâh is generally used as the central defining pitch, and the common defining pitch is used in two different ways as hüseyni and nim hisar. The works in which Hüseyni is the common defining pitch are generally “Uzun Hava” called “Efilo, Fadik, Canım havası”. “Uzun Hava” in which the nim hisar pitch is the common defining pitch are called “Nezük”. This distinction essentially reveals that the change of a single pitch in the melody structures in the local music causes the “Uzun Hava” to be expressed with a different name and the importance of the smallest melody structures. The main purpose of this study is to analyze the Reşadiye “Uzun Hava”, which contain the characteristic local motifs of the music culture of Tokat region, with the melody nucleus method. In the study, three “Uzun Hava” registered to Reşadiye region in TRT repertoire were analyzed with the melody nucleus method. The sentence structures of the pieces and the melody nucleı in these structures were determined and their form structures were shown on the table. As a result of the analysis, it was determined that Çargâh pitch is the central defining pitch, hüseyni and nim hisar pitches are common defining pitches in different “Uzun Hava”, and Çargâh in one “Uzun Hava” and Bayati Şiraz melody nucleus structures are dominant in the others. © 2025 Elsevier B.V., All rights reserved.en_US
dc.identifier.doi10.31811/ojomus.1657986
dc.identifier.endpage322en_US
dc.identifier.issn2536-4421
dc.identifier.issue2en_US
dc.identifier.scopus2-s2.0-105005101218en_US
dc.identifier.scopusqualityQ4en_US
dc.identifier.startpage304en_US
dc.identifier.urihttps://doi.org/10.31811/ojomus.1657986
dc.identifier.urihttps://hdl.handle.net/20.500.12684/21374
dc.identifier.volume10en_US
dc.indekslendigikaynakScopusen_US
dc.language.isotren_US
dc.publisherNilgun SAZAKen_US
dc.relation.ispartofOnline Journal of Music Sciencesen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.snmzKA_Scopus_20250911
dc.subjectAnalysisen_US
dc.subjectMakamen_US
dc.subjectMelody Nucleusen_US
dc.subjectReşadiyeen_US
dc.subjectTokat Uzun Havalarıen_US
dc.titleAnalysis of “uzun hava” performed in the Tokat/Reşadiye region with the “melody nukleus” methoden_US
dc.title.alternativeTokat/Reşadiye yöresinde icra edilen uzun havaların “ezgi çekirdeği” yöntemiyle analizien_US
dc.typeArticleen_US

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