An exami̇nati̇on of the hi̇stori̇cal development and performance techni̇ques on he tongueless shepherd's kaval

This study aims to provide a comprehensive examination of the historical development and performance techniques of the tongueless shepherd's kaval, an instrument of significant importance in Turkish folk music. Recognized as the oldest instruments in human history, the kaval has long been present in the rural regions of Anatolia, primarily serving as a shepherd's instrument. However, with the advent of the Republican era and the institutionalization of music education, the kaval was incorporated into academic curricula relatively late and has remained insufficiently explored from a scholarly perspective. This research aims to investigate the kaval's journey from traditional forms of usage to its modern presence in academic and stage performances, addressing both its construction and performance aspects. The study was designed within the framework of a qualitative research approach, and data were collected through a literature review, historical analysis, and semi-structured interviews. Interviews were conducted with performers and makers based in Istanbul. They were then transcribed, notated, and subjected to analytical review. The sample group comprises two kaval makers, three performers, and one academician. The data obtained from the interviews were analyzed using document analysis methodology, and the study employed a mixed-methods approach. Within the scope of the thesis, the etymological origins and historical evolution of the kaval are examined in detail, with particular emphasis on its transformation during the Republican era. The introduction of the tongueless kaval into the professional music scene by Arif Sağ in the 1980s is regarded as a pivotal turning point in the instrument's development. The integration of the kaval into educational institutions has been shaped by methodological and pedagogical insufficiencies, resulting in a developmental path heavily reliant on individual mastery and experiential knowledge. In this context, Sinan Çelik's innovative approaches to both construction and performance techniques have played a significant role in the standardization efforts surrounding the instrument. The study also presents a comparative analysis of the materials, techniques, and measurement criteria employed by makers such as Celal Ağaç and Muharrem Gül, evaluating how different construction choices influence performance. The works and playing techniques of prominent performers such as Sinan Çelik, Murat Toraman, and Serkan Yıldırım have been analyzed, providing detailed explanations on how various techniques including vibrato, horlatma, trill, legato, and accentuation are applied. The findings indicate that the tongueless kaval has not yet been fully institutionalized within academic music education. It remains an instrument that is predominantly learned and performed through master-apprentice relationships. This underscores the necessity of developing kaval methodology through practice-based, field-oriented, and collaborative approaches. Furthermore, grounding the construction process in technical principles and supporting it with pedagogical frameworks would enhance both performer proficiency and the instrument's visibility on national and international music scenes. In conclusion, this study aims to highlight the cultural significance and potential of the tongueless shepherd's kaval within Turkish musical heritage. By integrating traditional knowledge with contemporary performance practices, the study aims to serve as a foundational resource for future academic and practical research in the field. Keywords: Dilsiz Çoban Kavalı, Turkish Folk Music, Wind Instruments