The use of crimean tatar kaytarmas as etudes in the performance development of the Azerbaijani Tar

This thesis seeks to address a notable deficiency in the rhythmic diversity currently observed within the pedagogical frameworks for teaching the tar, a principal instrument in Azerbaijani musical heritage. A critical examination of existing instructional materials, particularly etude books, reveals a heavy reliance on elementary metric structures most commonly 2/4, 3/4, and 6/8 time signatures. While these meters serve a functional role during the initial stages of technical development, they fall short of representing the instrument's full expressive and rhythmic potential. This limitation is especially pronounced at intermediate and advanced levels of study, where students require exposure to more complex and asymmetrical rhythmic frameworks to achieve comprehensive mastery. Among such meters, the 7/8 time signature-integral to a wide array of regional musical idioms-remains conspicuously absent in standard pedagogical resources for the tar. In response to this gap, the present research explores the pedagogical potential of integrating materials derived from alternative cultural sources-specifically, Crimean Tatar folk music. The study concentrates on the genre of Kaytarma, a category of melodies distinguished by their unique 7/8 meter and their melodic structures, which exhibit a high degree of compatibility with the tar's technical and expressive range. The core objective is to determine whether these melodies can be effectively adapted into etudes for advanced tar instruction and to assess their efficacy in cultivating greater rhythmic versatility. To achieve this, the research employs a qualitative methodology grounded in a case study design. Seven representative Kaytarma melodies were selected from the traditional Crimean Tatar repertoire based on criteria such as rhythmic structure, melodic integrity, tessitura, and adaptability to the tar's playing techniques. Expert evaluations were further utilized to ensure the pedagogical suitability of the selected pieces. The study pays particular attention to aspects of performance technique, including right-hand plucking patterns, left-hand fingering strategies, and their integration through the concept of vehted a term denoting the coordinated synergy of both hands. The findings suggest that the incorporation of these melodies into tar pedagogy not only facilitates technical advancement, especially in rhythmically complex contexts, but also broadens the stylistic and cultural horizons of the learner. Moreover, the research posits that embedding culturally diverse musical materials, such as those from Crimean Tatar traditions, fosters intercultural competence and promotes a more inclusive approach to music education. Consequently, this study advocates for the systematic integration of Kaytarma-based etudes into the tar curriculum as a means of enriching both technical instruction and cultural understanding.