Tümata

By Rahmi Oruc Guvenc

The Group for the Research and Promotion of Turkish Music was founded by Asst. Prof. Dr. Rahmi Oruc Guvenc in 1976, and research in theory and application is being carried out, exploring the subjects of Turkish music history, its instruments and their manufacturing techniques and specialties, repertory elements and execution methods within the scope of comparative music history and the Ethnomusicology tradition.

The musical healing and movement therapy tradition, which uses ethnomusical elements within the environment of modern medical science, has an important place in Turkish history and culture. TUMATA, has united the residue of knowledge in musical healing and movement therapy that has reached our time, with clinical and laboratory experiments.

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Research on Psychogalvanic reflex and its relation with music was undertaken in Istanbul University Cerrahpasa Medical Faculty, during a clinical psychology doctorate programme (between 1976-80). In addition, the computerized EEG analysis and the effects of Turkish musical tonalities in Berlin Urban Hospital (in 1986-90), and findings in the neurology, cardiology, oncology, geriatric and immunology projects are still continuing in Vienna Medling Clinic (since 2001). These shed light on the importance and essence of Turkish music in therapeutic practice therapy in today's world.

With the decree of Istanbul Marmara University Senate dated 18th February 1997, and the decree of 'Munich Hochschule für Music' dated 06 May 1997, an educational pilot project on Turkish music therapy tradition and its application has been established between the Austrian Eastern Music Therapy School, Munich Academy of Advanced Music and Theatre and the Turkic Research Institute of Marmara University. Apart from these, since 1986, research within the educational program of the Austrian Rosenau Eastern Music Therapy School and educational courses in Zurich, Madrid, Barcelona, Berlin and Mennheim are continuing. The music therapy specialists who have received instruction from Asst. Prof. Dr. Rahmi Oruc Guvenc are continuing curing and healing activities in clinics in Austria and Germany.

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European connections, schooling and training efforts in European countries, concerts and seminars are being coordinated by psychologist and theologist Gerhard Kadir Tucek. The Ethnomusicology Foundation was established in Vienna in 1986. The school started its education program in 1989. Ethnomusictherapy Institution was founded by G. Kadir Tuek in 1999 and educational musictherapy programs are being carried out in Rosenaw, Zurich, Madrid, Barcelona, Berlin and Mannheim. This institute and its scientific programs with clinical cooperation has a past reaching as far as 1993. Amongst them is a project undertaken in Meidling (Vienna), the oldest is a neurological research program.

Cardiology research has been ongoing since 2000; oncology research is continuing since 2001, clinical research related with the handicapped is continuing since 1993.

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Elements of Ethnomusicology and music therapy which have survived today are the disposition of a long historical and cultural accumulation and are being brought to life and promoted by the 25 TUMATA members in this country and around the world through concerts, seminars, conferences, symposia and TV programmes. In the museum in Istanbul, over 300 authentic musical instruments from Turkic provinces, which are being used in live performances have been exhibited. Members of the group come together in certain days of the week and rehearse concert repertory and music therapy applications. Various clinical activities are still being continued. Members of TUMATA have taken part in many national and international festivals, concerts and seminar activities.

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In Bakirkoy Mental Disorders Hospital, musical and movement therapy programmes by Tumata have been implemented with patients with Dr. Arif Verimli (1997-1999). www.tumata.com is the window that opens Tumata's garden...

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The Following are Specialties of Tumata Music Therapy Makams

Including notes on effects to the organs, astrological properties, time relations, and curing effects

  • Nihavend tonality: Gives a general feeling of relaxation and peace. Good for the abdominal area. Regulates blood tension and circulation. Relaxes the muscles and is more effective around noon. The speciality of the pentatonic tonality is that it induces feelings of confidence and determination.
  • Rast tonality (Makam): Good for the head and the eyes; helps paralysis. Induces feelings of joy, enjoyment and comfort. Sign: Aries. It is more effective at dawn and midnight.
  • Rehavi tonality : Induces feelings of eternity, infinitude and general relaxation; is good for the head and the eyes. Sign: Libra. More effective at dawn.
  • Hüseyni tonality : It is good for the internal organs; liver, heart and stomach. It increases resistance against malaria. Induces feelings of peace, calmness and relaxation. Sign: Scorpio.
  • Hicaz tonality : Good for the urogenital system and the kidneys. Gives rise to the feelings of humbleness. Sign: Sagittarius.
  • Pentatonic melodies: Induces feelings of self confidence and determination.
  • Acemasiran tonality : Induces feelings of creativity and infinitude. Helps labour. Good against pains.
  • Ussak tonality : Good for gout pains and feet in general. Induces sleep and laughter. Sign: Pisces. More effective at dusk.
  • Segah tonality : Strengthens the heart; is good for the brain. It induces bravery and relaxation.
  • Saba makami: Induces religious feelings, bravery and strength. It also helps relaxation. More effective at down.
  • Buselik tonality : Induces general relaxation. It is beneficial for the abdominal area and the muscles. Regulates blood tension and circulation.
  • Isfahan tonality : Removes negative thoughts; clears the mind and increases intelligence. Beneficial against gynaecological illnesses. Increases mobility and induces self confidence. Sign: Gemini.
  • Neva tonality : Removes negative thoughts. Beneficial against waist and hip pains; good for gynaecological illnesses. Restores taste and induces relief and happiness. Sign: Aquarius.
  • Bakshi dance: An ancient therapy dance originating from the Altai mountain range - improvised application.
  • Archetypical movements: Therapy and preparation by arm, shoulder and head movements. Image Music: Helps therapy and healing process by inducing the visualisation of images.
  • Sema - semah: Examples from Sema and Semah (Whirling dance of dervishes).
  • Irak tonality : Affects people with tan complexion. More effective in mid-morning. Helps learning, understanding and concentration. Beneficial for the stubborn and vulgar characters. Removes feelings of fear and exasperation. Sign: Taurus.
  • Buzurk tonality : Gets rid of apprehension and fear. Clears the mind. Directs thought. Beneficial against fever. Sign: Leo / Group: Fire.
  • Zirefkend tonality :Beneficial against back, muscle and acute abdominal pain. More effective after midnight. Sign: Cancer / Group: Water.
  • Zengule tonality : Good for the brain and the heart. Beneficial for stomach and liver disorders. It has a relation with hip joints and inner side of the legs. Sign: Virgo - Libra. Group: Earth.

Turkish Musical Instruments in Tumata Collection and Used in Healing

  • rehabREBAB : The body of the string instrument is a fish skin covered coconut. The three strings are made from horse tail hair; one string at a time is played with a horse tail bow. Its origin is Central Asia.
  • NEYNEY : It is a wind instrument made of cane. The inside is hollow; it has seven holes, its origin is Central Asia.
  • UDUD - KOPUZ : It is an eleven stringed instrument played with a pick. It has a wide body and a short neck. Its origin is Central Asia.
  • TANBURTANBUR : It is a long necked, seven stringed instrument, played with a tortoise shell pick.
  • CENGCENG : It is a Central Asian harp with either fourteen or twentyfour strings. It is held under the left arm and played with both hands. It was once used in Mevlevi music.
  • KANUNKANUN : It is an Central Asian instrument with seventyfive strings. It is played with two picks while resting on the player's knees.
  • SAZSAZ, BAGLAMA, CURA : It is a seven stringed long necked instrument played with arpegios. It is the chief Anatolian folk music instrument.
  • DOMBRADOMBRA ( DUTAR ) : It is a two stringed instrument played with arpegios. It originated among the Kazakh and Kyrgyz and was the special instrument of the Baksi Shamans.
  • KILKOPUZKILKOPUZ : This is an instrument with a wooden body and three or four horse tail hair strings. It is played with a bow while resting on the player's knee. It is one of the chief instruments of the Central Asian Shamans.
  • RUBABRUBAB ( KOCKARCA ) : This Uzbek Tadjik instrument has a wooden body covered with a skin. It has a long neck. The five strings are played with a pick.
  • CETIGENCETIGEN-YATUGAN: An instrument of Yakutistn and Kazakhstan. It has between 17 to 20 strings and is played on the lap.
  • TARTAR : This is a long necked Azerbaijan instrument made from mulberry wood and covered with a skin. The eleven strings are played with a pick.
  • MISKALMISKAL : This is an Central Asian pan-flute made by tying diffferent sized pieces of cane together in a row.
  • GUBUZGUBUZ - SANGOBIZ: This instrument is made by attaching a flexible steel strip to a metal hoop. The player puts the gubuz in his mouth and vibrates the steel strip with one hand while inhaling and exhaling. Its origin is Central Asia.
  • BALABANBALABAN ( MEY ) : This is a wind instrument with a kaval type body. A double reed cane is attached to one end. It is seen in both Central Asia and Anatolia.
  • SIBIZGISIBIZGI : This is a wooden Kazakh instrument which is placed between the teeth and blown.
  • ABAKABAK KEMANE-GICEK: The three stringed instrument is played with a bow. The body is made from squash gourd; the neck is made from mulberry wood.
  • UZBEKUZBEK NAY and TURKMENIAN KAVAL: These are both types of wooden wind instruments.
  • KORAYKORAY : This is an Idil-Ural instrument made from a piece of narrow cane. It is played between the teeth and blown.
  • MAZHARMAZHAR ( BEND?R ) : This is a percussion instrument made by streching a skin over a wooden hoop. Rhythm is produced by striking it with the fingers.
  • KUDUMKUDUM: This is a clay drum covered with a skin. A pair are often played with drum sticks called zahme.
  • HALILEHALILE: These two cymbals are used for rhythm.
  • MURINHURMURINHUR: An instrument of Mongolia and Tuva Region. It has two strings made from horse tail hair and is played with a bow. The neck is decorated with the head of a horse at the top.
  • NEFIRNEFIR: This is a wind instrument made from horns of the mountain goats.