The folk songs have overtones both its roots and time the social and cultural values of emergent community. It also carries the socio-cultural elements when the primary or secondary culture from generation to generation with the environment beyond the future. Oral culture medium, but was initially known as the creator of many popular songs by anonymous people over time. The folk song is defined as a poem written in the form of a syllable in the dictionaries, written in a loose form and specific to the Turks. Many definitions have been made about the folk song from the past. Folk songs, which traces the creation and hosting of community life carries cultural codes. It is a kind of folk song verse conveying the people's happiness and pain. In the primary culture environment, the folk song is sung by a certain performer in a loose form. Folk song creates a connection between performer and audience. In the oral cultural environment, the folk song is changed in some way due to the different performances during the transfer. As a result, variants arise. This condition is not observed because the medium is adhered to the secondary orality medium. But in electronic culture environment, folk songs have new meanings according to the contexts they are in. Folk songs in an oral culture indicator showing relationships, changes in the electronic culture medium. Folk songs, by the culture industry like television, cinema signs are used by subjecting a change and transformation. This paper will be examined method of reading text Mamoş songs, genereted as infindelity in Elazığ, converted to the grief of losing a child in the Kurtlar Vadisi Pusu that Turkish television series.
Folk Song, Sign, Transformation, Mamoş
| Author : | İbrahim GÜMÜŞ |
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| Number of pages: | 167-176 |
| DOI: | http://dx.doi.org/10.7827/TurkishStudies.11277 |
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