TÜRK HALK MÜZİĞİ TAVIRLARINDA KULLANILAN SÜSLEMELERİN KABAK KEMANE EĞİTİM VE İCRASINA ETKİLERİ
EFFECTS OF ORNAMENTS USED IN TURKISH FOLK MUSIC STYLES ON KABAK KEMANE EDUCATION AND PERFORMANCE

Summary/Abstract: In this article, by exemplifying the four basic ornamentation elements such as trill, vibration, glissando and impact, which form and nourish Turkish folk music styles in the teaching and performance of Kabak Kemane, on folk melodies, by examining the effect of the performance transcription structures of ornaments on education and performance, a structure has been constructed based on how to manage the technical tendency in ornamentation nuances and its transformation into performance achievement, and it is aimed to provide an original pedagogical learning outcome. This learning outcome is explained by increasing the physical structure of the instruments in Kemane education in line with the rules required by the grip and usage characteristics, and by using the qualitative description method, which details the ornamentation elements focus on and on which string and finger pressures on the melodies. For this reason, the target audience is not Kabak Kemane performers, but students who have completed their technical infrastructure in Kemane education. The research suggests the importance of the analysis of motifs that are found in the attitudes of melodies and require ornamentation, and the development of the ornamentation model methodology, and the necessity of a process where the target audience, who are in the education and performance stage, can technically transfer the ornaments in question to Kemane performance with sample applications. These suggestions are mostly made towards the point that the ornamentation elements include the regional expression and attitude of the emotion obtained in the basic targets, and provide the habit of applying ornaments as much as necessary. For this reason, while the universe of the study is the etudes, exercises and Turkish folk music melodies used in Kemane education and performance, only the melodies in which four ornaments are used in the sample were selected, and the nuance values of the ornamentation motifs in these melodies were highlighted. Thus, a performance reflex awareness was created regarding ornaments in Kabak Kemane teaching, and a process was created in which the transfer structure of the attitude and style features in Turkish folk music is modeled with the effect of the master-apprentice teaching coming from tradition, and the levels of using ornamentation structures that make local attitudes unique was associated with.

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