Akademik Veri Yönetim Sistemi
Cüneyd Orhon Uluslararası Kemençe Sempozyumu, İstanbul, Türkiye, 1 - 03 Aralık 2010, cilt.7, ss.36-42, (Tam Metin Bildiri)
When Turkish music is examined in a historical context from the point of teaching music
and transmission of the repertoire the importance of master-apprentice tradition may be
seen more clearly. In traditional training, learning via exercising based on memorising and
practice is fundamental. In this tradition, the characteristic aspects of the master’s style
inevitably pass on to the apprentice’s performance throughout over time. In our rapidly
changing world, in training on traditional Turkish musical instruments it has become indispensible
to add new and practical methods of teaching to save time and introduce them to
a wider public. As a matter of fact, instrument-playing methods –and also music teaching
methods in general with notes supported via exercises and instrumental études– have
assumed more importance today and method books show an upsurge since such training
material is expected to help youngters achieve technical mastery in a relatively short time.
In order that the kemençe – both the three and four stringed ones - may be introduced
to a wider public as a Turkish makam music stringed instrument, it is a necessity that this
musical instrument should be taught in most music schools. However, it is also crucial to
conduct scholarly research and study on the kemençe. Adjunct to the traditional kemençe
teaching, instrumental exercises, études and methods are needed which should be composed
by knowledgeable musicians, hence are of a certain quality. In the course of designing
such educational methods, established method books used in Western music must
be examined. However, generally in the teaching of Turkish makam music instruments,
there is a problem that has to be solved. It is a fact that theoretical approaches to makam
music differs from each other. Although the presence of diverse teaching methods offers
some advantages, the differences in the practice of makam music resulting from theoretical
explanation create many disadvantages. For this reason, in order that students may
not face additional hardship in learning, explanations of makam music theories should
follow the same approach – via logic which follow a descending order: from easy to hard.
Apart from the aforesaid, in the method books to be composed, the musical pieces which
will be suggested should be chosen very carefully at very level. For students who come
have reached a certain level, exercises aiming at improving style, or stylistic characteristics
should be included in the method as well.