Research Information System
Thesis Type: Postgraduate
Institution Of The Thesis: Yildiz Technical University, Graduate School Of Social Sciences, Art And Design, Turkey
Approval Date: 2024
Thesis Language: Turkish
Student: ECEM AYTEKİN
Supervisor: Aslıhan Eruzun Özel
Open Archive Collection: AVESIS Open Access Collection
Abstract:
The kemenche, one of the oldest bowed string instruments in Turkish music history, has been documented in sources as widely used among the Turkish populace and in palaces from the 18th century onwards. Evolving from a single-stringed bow instrument ıklığ originating in Central Asia to a three-stringed model in Istanbul, it acquired a new identity with the addition of a fourth string starting from the 1920s. Thus, the kemenche has persisted to the present day in the hands of many esteemed performers, both as a three-stringed and four-stringed instrument. Renowned kemençe artist Cüneyd Orhon (1926-2006) made significant contributions to the recognition of the kemençe's value in Turkish makam music and he developed an original style in his performances, particularly pioneering techniques for playing the four-stringed kemençe and undertaking important scholarly works. This research focuses on analyzing Orhon's performances, examining the techniques employed in executing pieces, and identifying the interpretive characteristics he applied during performances. The uniqueness and diversity in Orhon's interpretations have facilitated a deeper understanding of his musical identity and artistic expression. Within the scope of this thesis, seven instrumental pieces in the Hicaz, Hüseynî, Hüzzâm, Karcığar, Nihâvend, and Segâh modes performed by Cüneyd Orhon on the classical kemençe are studied for their interpretive characteristics, as presented in the "Cüneyd Orhon Archive Series" album released under the Kalan Müzik label in 2000. It has been concluded that the examination of performances of works enables the identification of the artist's performance characteristics. As a result of the analysis, it was understood that Orhon generally did not focus on a performance other than the notes. Because he created his own edition of the works, notated them, and performed them adhering to these editions. However, it is seen that Cüneyd Orhon performs some of his works outside of his own editions. Although Orhon adopted a disciplined understanding of performance he reflected this variability in her performances depending on the change of emotional state during the performance as in every performer. Thus, he was able to go beyond the editions he wrote in his performances. Additionally, it has been observed that he applies "legato playing technique as well as a nuanced and expressive musical understanding" in his kemenche performance technique and attitude.