İHSAN ÖZGEN’İN ACEMKÜRDÎ KEMENÇE TAKSİMİNİN AREL NAZARİYATI BAĞLAMINDA TAHLİLİ
ANALYSIS OF İHSAN ÖZGEN'S ACEMKÜRDÎ KEMENÇE TAKSIM IN THE CONTEXT OF AREL THEORY

Summary/Abstract: İhsan Özgen, one of the most important representatives of the Cemil Bey school in 20th century Turkish Music instrumental performance, performed the tanbur, cello and kemençe instruments at the highest level in terms of technique and attitude, and contributed to the development of this attitude and played an important role in its survival to this day. Özgen is an innovative artist who is both committed to tradition with his performance and directs his performance by perceiving the international musical developments of the current century and adding his own interpretation to them. In this study, İhsan Özgen's taksim in the Acemkürdî maqam performed with the kemenche was analyzed according to the Arel theory and similar and different aspects were tried to be revealed. For this purpose, Özgen's division was found by scanning the archives and an attempt was made to note it. This notated taksim was then subjected to a comparative examination with the Acemkurdî maqam information in the Arel theory book in terms of scale, rhythmic characteristics, used flavors and vocal range. As a result of this analysis, it was revealed that there were differences in the processing of the maqam. Similar and different aspects have been revealed concretely in line with the comparisons made in the conclusion section.

• Details
• Contents