Hâfız style in the sample of Kâni Karaca

In this study: Hafiz Attitude was examined in the Sample of Kâni Karaca. This study has been prepared in order to shed light on the Hâfız attitude due to the lack of sufficient literature in the relevant field. This study was limited to Ağır Semai, which is the non-religious musical form of Hâfız Kâni Karaca, and 18 performance recordings that have survived to the present day have been examined. executions: ornamentation techniques, non-note performance elements, musical expression elements and understanding of performance have been analyzed and the general framework of the Hâfız style has been tried to be determined and the concepts related to the subject have been tried to be explained. In the first part, the method of the study, the problem situation, sub-problems, the purpose and importance of the study, the universe, the sample and the limitations are discussed. In the second part: Information about Kâni Karaca's art life and understanding is given. In the analysis section of the study, "ornamentation techniques and musical expression elements" used in Western music terminology were conceptually expressed by us using their Turkish equivalents and explained in the definitions section. The works performed in the form of Ağır Semai have been re-noted on the double stave, with the original notation at the top, and the works of Kâni Karaca at the bottom, according to the performance style. As a result of this examination, it has been determined that nasal and chest voice regions are used in terms of memory style in Kâni Karaca sample, especially in Kâni Karaca sample, Tapping, Trembling, Tercî, Fast Passing and Filtering Tune Techniques are used in this manner, Weak – Semi-Strong – Strong musical expression elements are used. and the findings regarding the Hâfız attitude are given in the results section.