Investigation of use cases of unmetered spesific intro studies in kabak kemane education

The kabak kemane, as a bowed Turkish instrument, holds an important place in Turkish Classical Music (THM) performances. In the past, it was considered a regional instrument solely accompanying the folk songs of the Teke region. However, with the increase in technological advancements and the growing number of performers, the kabak kemane has become more widespread, and its areas of use have expanded. Nowadays, pieces from all regions of THM are being performed with the kabak kemane. As the recognition and popularity of the kabak kemane continue to grow within society, there has been an increase in the number of educational institutions offering training in this field. Instrumental education for the kabak kemane is provided in conservatories and fine arts high schools in our country. This study aims to examine the usage of kabak kemane opening training in undergraduate-level conservatories in Turkey, and to contribute to kabak kemane education and performance by identifying any existing shortcomings. Previous studies related to the subject were reviewed in the literature. Semi-structured interview forms were conducted with expert faculty members who provide kabak kemane education in undergraduate-level conservatories in Turkey to the extent we could reach. The results obtained were thoroughly analyzed and interpreted. In light of the findings and results, it was determined that opening training progresses based on the master-apprentice relationship. To be able to perform openings on the kabak kemane, it is believed that the performer should have a wide repertoire, advanced knowledge of regions and compositions, proficiency in musical modes, and technical mastery of the kabak kemane. Additionally, it is thought that the fine muscles of the right and left hand need to be developed to execute embellishment techniques such as vibrato and glissando while performing openings. Therefore, it was concluded that opening training is not considered suitable for beginners. It was observed that opening training varies in each conservatory, and the absence of a common assessment template was identified. No studies specifically focusing on opening training for the kabak kemane were found in the literature, indicating a limited number of resources on the subject. It is believed that any research conducted on this topic, such as this study, would contribute to the literature and the field of kabak kemane education and performance.