TÜRK, MOĞOL VE TUNGUSKA-MANÇU ETNİK GRUPLARININ ESKİ VE GELENEKSEL MÜZİKAL VE ENSTRÜMENTAL KÜLTÜRLERİNDE ÇİN ZİTHERİ

Öz

Bu çalışmanın önemi, orijinal prototipi Çin'deki en eski telli çalgılardan biri olan se zither (瑟) olan İç Moğolistan, Mançurya (Kuzey ve Kuzeydoğu Çin), Moğolistan, Uzak Doğu ve Güney Sibirya (Rusya Federasyonu) ortaçağ ve halk çalgılarının guzheng zitherinin dinamik gelişimi ile ilgilidir. Çalışmanın amacı, se zither'in (瑟) tasarım özelliklerini ve akort yöntemlerini araştırmaktır. Organolojik analiz, karşılaştırma, çıkarım ve soyutlama gibi bilimsel araştırma yöntemlerinden oluşan bir sistem kullanılmıştır. Çalışma sonucunda, se zither'in (瑟) klasik Çin zither'i qín'den (琴) farklı olduğu tespit edilmiştir. M.Ö. 7. - 2. yüzyıllara ait tarihi ve arkeolojik kaynaklar incelendiğinde, xie zitherinin en eski yayılma alanı, nüfusu etnik olarak Huaxia Çinlilerinden farklı olan antik Chu krallığı (M.Ö. 6. - 2. yüzyılın başları) ve onun bir modifikasyonu olan zheng zither (箏), Qin hanedanlığı (M.Ö. 771 - 221) döneminde bulunmuştur. Buna ek olarak, Orta ve Güneydoğu Asya'nın bu bölgelerindeki eski halkların ortaçağ enstrümanlarına sızma yolları belirlenmiştir. Şekil, tasarım özellikleri ve hareketli ayaklarla akort etme yöntemi, bu kanun türünün Türk ve Moğol etnik gruplarının eski ve geleneksel enstrümanlarıyla genetik bağlantısını ve Tunguska-Mançu'nun ortaçağ saray enstrümanlarına sızdığını ortaya koymuştur.

Anahtar Kelimeler

• Müzikarkeoloji
• Organoloji
• Çin arkeolojik ve halk çalgıları
• Zithers
• Se
• Chuse
• Qín
• Zheng
• Chathan
• Jetigan
• Yatga

CHINESE ZITHER SE IN ANCIENT AND TRADITIONAL MUSICAL AND INSTRUMENTAL CULTURES OF TURKISH, MONGOLIAN AND TUNGUSKA-MANCHU ETHNIC GROUPS

Abstract

The relevance of this study is conditioned by the dynamic development of the guzheng zither of medieval and folk instruments of Inner Mongolia, Manchuria (North and North-East China), Mongolia, the Far East and Southern Siberia (Russian Federation), the original prototype of which is one of the oldest string plucked instruments in China – the se zither (瑟). The purpose of the study was to investigate the design features and tuning methods of se zither (瑟). A system of scientific research methods was used, namely organological analysis, comparison, deduction, and abstraction. As a result of the study, it was found that the se zither (瑟) differs from the classical Chinese zither qín (琴). Given the study of historical and archaeological sources of the 7th – 2nd centuries BCE, the oldest area of distribution of the xie zither was found within the ancient kingdom of Chu (6th – early 2nd century BCE), whose population was ethnically different from the Huaxia Chinese, and its modification, the zheng zither (箏), during the Qin dynasty (771 – 221 BCE). In addition, the ways of its infiltration into the medieval instrumentation of the ancient peoples of these regions of Central and South-East Asia were determined. The shape, design features, and the method of tuning with movable stands have established the genetic connection of this type of zither with ancient and traditional instruments of Turkic and Mongolian ethnic groups and its infiltration into the medieval court instruments of the Tunguska-Manchu.

Keywords

• Musicarchaeology
• Organology
• Chinese archaeological and folk instruments
• Zithers
• Se
• Chuse
• Qín
• Zheng
• Chathan
• Jetigan
• Yatga

References

1. Afonina, O., & Karpov, V. (2023). “Art Practices in Modern Culture”. Culture and Contemporaneity, 2, 76-81. https://doi.org/10.32461/2226-0285.2.2023.293863.
2. Antoshko, M. (2020). “Influence of China’s philosophical views on the country’s musical culture”. National Academy of Managerial Staff of Culture & Arts Herald, 3, 178-182. http://dx.doi.org/10.32461/2226-3209.3.2020.220128.
3. Bernshtam, A. N. (1951). Essays on the history of the Huns. Leningrad, Leningrad State University.
4. Campbell, P. S. (1991). “Chinese music, musicians, and musical training: Perspectives from the post-Tianamen period”. Quarterly, 2 (4), 22-29.
5. Cardoso, M. (2023). “Musical instrument teaching assessment practices”. Musica Hodie, 23, 74384.
6. Deng, H. (2006). Musical change and contunuity of Huayin: The essence of Chinese Zheng music. Tallahassee, Florida State University.
7. Do you know the difference between Qin and Se? (2017). https://m.sohu.com/n/486051098/?wscrid=95360_7.
8. Doszhan, R. (2023). “Multi-vector cultural connection in the conditions of modern globalisation”. Interdisciplinary Cultural and Humanities Review, 2 (1), 27-32. https://doi.org/10.59214/2786-7110-2023-2-1-27-32.

9. Eremenko, N. O., & Stakhevich, O. G. (2024). “Folk-instrumental performance of China”. Slobojan Art Studios, 1, 30-34.
10. Furniss, I. (2019). “Political and musical change in Early China: The case of Chu”. Music and Politics in the Ancient World. Exploring Identity, Agency, Stability and Change through the Records of Music Archaeology. Berlin, Edition Topoi, pp. 35-61.
11. Gaywood, H. R. A. (1996). Guqin and Guzheng: The historical and contemporary development of two Chinese musical instruments. Durham, Durham University.
12. Gen-Ir, U. (2009). “Forming of musical culture in Ancient China”. News of the Russian State Pedagogical University named after A.I. Herzen, 89, 139-147.
13. Hasanov, E. L. (2016). “About comparative research of poems “treasury of mysteries” and “iskandername” on the basis of manuscript sources as the multiculturalism samples”. International Journal of Environmental and Science Education, 11 (16), 9136-9143.
14. Hu, B., & Lim, H. (2021). “Research on vibration characteristics of Zither based on modal analysis”. Journal of Physics: Conference Series, 1944 (1), 012009. http://dx.doi.org/10.1088/1742-6596/1944/1/012009.
15. Hung, L. T. (2021). The origin of the Vietnamese Zither Đàn Tranh. Melbourne, ePapyrus Editions.
16. Jiangli, J. (2021). “Kindness, beauty and zither of shanxi–foresight and dynamic analysis of the development of shanxi zither”. Journal of Frontiers in Art Research, 1 (4), 91-94. https://dx.doi.org/10.23977/artpl.2021.020404
17. Koral, A. (2017). “Precious artifacts, once buried with Chinese rulers, on view downtown”. https://tribecatrib.com/content/precious-artifacts-once-buried-chinese-rulers-view-downtown .
18. Lawergren, B. (2000). “String”. Music in the Age of Confucius. Washington, Freer Gallery of Art and Arthur M. Sackler Gallery, pp. 65-85.
19. Lee, M.-Y. (2023). “Concept of nature in the musical aesthetics of the Chinese Guqin”. Journal of Comparative Literature and Aesthetics, 46 (1), 161-171.
20. Li, C. (1996). An overview of unearthed musical instruments in Ancient China. Beijing, Heritage Publishing House.
21. Luvsannorov, E. (2013). “From the history of traditional Mongolian harp”. https://gurduumn.blogspot.com/2013/05/blog-post_21.html.
22. Markova, O. (2023). “Metaphysics of personal-creative synchronisations in music”. Notes on Art Criticism, 43, 90-96. http://dx.doi.org/10.32461/2226-2180.43.2023.286841.
23. Pegg, C. (2001). Mongolian music, dance, & oral narrative: Performing diverse identities. Seattle, University of Washington Press.
24. Rui, G. (2023). “Ethno-Artistic Competence of a Music Teacher: Essence, Structure, Features of Formation”. Professional Education: Methodology, Theory and Technologies, (17), 79-92. https://doi.org/10.31470/2415-3729-2023-17-79-92.
25. Ruiping, W., & Wei, C. O. (2024). “Memory of the grassland: how to keep singing Mongolian Gür songs in modern ordos city, China”. Asian-European Music Research Journal, 13, 1-12.
26. Sheikin, Y. I. (2002). History of musical culture of the peoples of Siberia. Comparative-historical study. Moscow, Vostochnaya literature.
27. The ancient music floats into my dream: The song is not over, but the people are not leaving. (2017). https://mt.sohu.com/20170215/n480733451.shtml
28. Truyền, N. T. (2023). “Musical instruments in the cultural life of the Xơ Đăng in Quảng Ngãi”. Asian-European Music Research Journal, 12, 57-70.
29. Vasylieva, L. (2020). “Modern composing schools of Far East countries in the context of professional art education”. East European Scientific Journal, 7 (59), 7-12.
30. Volkov, V. V. (2017). “Ethnic minorities in the political discourse of Latvia”. Etnograficeskoe Obozrenie, 2017 (2), 24-38.
31. Wu, Z. (2020). Becoming sages: Qin Song and self-cultivation in Late Imperial China. Columbus, Ohio State University.
32. Xie, H. (2023). “Mutual interaction and integration of music culture of She and Han nationalities into the present”. Musica Hodie, 23, e73185.
33. Zhang, C., & Knobloch, Y. (1983). “A discussion of the history of the Gu zheng”. Asian Music, 14 (2), 1-16. https://doi.org/10.2307/833935.
34. Zhou, Y., Zeping, C., & Gernant, K. (2021). “The zither”. Manoa, 33 (1), 176-187.
35. Zhuo, S. (2016). The Chinese Zheng zither: Contemporary transformations. Oxon, New York, Routledge.