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BAĞLAMA ÇALGISINDA NOTA-İCRA FARKLILIKLARINA SEBEP OLAN ETKENLER

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In the “Introduction” section of the study, the relation between “Man and Music” was mentioned, and the method of the study was expressed. In the first section of the study, Turkish music was investigated in terms of its structure and general characteristics. Especially, the idea of considering Turkish music as a whole was argued, and its fundamental differences in comparison with Western music were explained. In the second section of the study , “Manner” and “Mode” topics in Turkish folk music were expressed, and besides “Local Sounds” topic was explained. In the third section of the study, Turkish folk music in seven geographical regions in Turkey were investigated, and the tune and rhythm characteristics of folk music in these regions were explained . In the conclusion section of the study, considering that it is not very right to distinguish Turkish music by genres,and Turkish classical music is rather city-borne music,folk music exists in both cities and countrysides; the investigations were suggested necessarily to be performed in compliance with this approach. Besides, it is not right to classify ballads by provinces in Turkey , which was pleaded considering that cultural elements know no political or administrative bounds. It is reported in the study that although some inter-regional differences appear; when examined carefully every genre is seen in almost every region.
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It is known that there are various problems teaching the baglama which is one of the most important instrument in traditional Turkish folk music. These problems are generally play, position, plectrum stroke direction and nonstandard teaching the baglama in terminology. There is an attempt to maintain standard teaching the baglama in conservatory and the deparment of music systematically as well as picking up solutions of the problems and it is argued that there is a necessity of a standard teaching how to play the folk instrument, the baglama in surveys about that topic. In that survey it was searched the history and teaching of the baglama and different play techniques from region to region. It was considered the regional baglama playing styles, Zeybek, Ankara, Konya, Yozgat, Teke, Karsilama and Asiklama in terms of plectrum stroke direction and given an example of position and disposition notes that were played folk tune with these playing styles. The results were attained that there is a particular play standard in plectrum stroke direction of the regional baglama playing styles and because of these features of the regional baglama playing styles they have the qualities that can be solved a part of standardization problems of teaching the baglama.
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