Deneyimin Dışavurumu Olarak Dengbejlik Geleneğinde Müzik

Music is generally conceptualized as the formation of sound which essentially consists in harmonic musical form and vibration, and thus it is referred to the physical aspect of music. However, this kind of approach to music represents tunnel vision. It may be claimed as the birth of melody that human likened his voice to the birds, wind and sea by imitating the sounds in the nature and then created music by using his voice and things. In this respect, music as a basic and primitive instinct among other fields of art have been expressed in different ways from the antiquity to the present, and therefore it becomes a multifaceted reality that should be viewed in the context of various aspects. It appears that there are some indicators on musical tissue in case music is an expression of man’s senses as a bio-psycho being and thus it is a behavioural pattern. When music is examined in the context of social, cultural, politic and economic constructions and identities, it seems that each society has a musical tradition with a sense of aesthetics and value judgments. As written literature has not improved in Kurdish society, music is very important as a language rather than means because it represents emotional world of people. Thus, the dengbej tradition on Kurdish music is essential due to provide an opportunity for oral literature to improve. In Kurdish, ’deng’ means voice and ’bej’ means tell or convey. Dengbejs besides musician have many missions in the society that they are sometimes a teacher of literature as a story teller or an actor with theatrical performance. In this tradition, Dengbejs, whose songs are entirely about every details of life, constitute collective memory by conveying social, cultural and economic situations from the past to the present. The most important assertion of therapy process is to give a new ego narrative to the patient. Consequently, the reconstructing of experience and the transformation of song into a recovery could be seen on the voice and song’s story of dengbej. In other words, it may be recognized a suppression effort on songs. Dengbejs attempt to obtain a theraupetic narrative by blending own story, and the society’s as well. Thus this narrative has a therapeutic effect. In this context, healing property of voice and word refers to transforming the function of mother from the point of Bionien. This study attmepts to emphasise what music in dengbej tradition means for daily living of musician and listener as well. In so doing, it is hoped to evaulate which factors have been effective in improving of this arthistic phenomenon and which immanent meanings of dengbej tradition appears in people’s sense of world as an expression of experiences through musi