ÜSLUP, TAVIR KAVRAMLARI VE İCRA TEKNİKLERİ ÇERÇEVESİNDE TÜRK HALK MÜZİĞİNDE SÜSLEMELER
ORNAMENTS IN TURKISH FOLK MUSIC IN TERMS OF PERSONAL/LOCAL STYLES AND PERFORMANCE TECHNIQUES

Summary/Abstract: The purpose of this article is to discuss what is the role of the ornaments in folk music; to summarize “ornamental frame of Turkish folk music”, to make some propositions especially for personal and local style, notation, education and collective performance. It is known that there are some terminological problems regarding the use of some concepts in Turkish folk music. In this study, some queries have been made on terminological issues and some terminological preferences have been made that are important for the conclusion of the study. In the context of Turkish folk music, there is a mutual relationship between the "local style" that characterizes the regional character and the "personal style" that indicates the characteristics of personal performance. There are some factors that determine the local style and personal style and their relationship with each other. Among these factors, ornaments and how ornaments are performed are the main factors. When the ornaments in Turkish folk music are examined, a tremendous variety stands out. In this study, the types of ornaments seen in Turkish folk music are classified within the framework of the “relationship between the notes/frets/pitches” and the subject is tried to be enlightened by giving examples from each type of ornaments. According to this, ornaments are examined under three main headings as "ornaments based on repetition of a single pitch", "ornaments between two pitches", "ornaments between more than two pitches”. It is presented in this article as the first step of an effort to reveal the "ornamental frame of Turkish folk music" by giving examples of ornamental types that play a role in the formation of local style and personal style, especially in terms of Turkish folk music.

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