Analysis of Meral Uğurlu's art life and the works she sang i̇n Evcâra Maqam terms of i̇nterpretation

When the theoretical, practical, intellectual and consequence of the Turkish Music tradition from the Ottoman Period to the present is evaluated; "Republic" has a special meaning regarding the emergence of new trends, new searches and new styles in music, especially technological developments. Considering the socio- political, socio-cultural changes and ultimately revolutions that started in the Pre- Republic period and continued with the Republic, changes were inevitable in the view and perception of art along with the social structure.Cultural heritage carried to the Republican period through gramophone and stone plaques involves makam music, instrumental and oral traditional performing, and various forms.It is known that while Tanburi Cemil Bey was the first to reveal the concept of 'taksim' with his solo performances of instrumental music in the traditional makam, the succession of oral music was continued by unique artists such as Münir Nureddin Selçuk and Safiye Ayla. While preserving Classical Turkish Music performances performed by Mesud Cemil Bey, who was the competent manager of the music broadcasts that became widespread in Turkey Radios' at that time, Meral Uğurlu, who ensured that these performances were passed on to future generations in a healthy way with her own style, has a unique position. As it is known, the artists who perform the popular products of our musical art under the name of Turkish Art Music without turning it into the trend of becoming famous more easily are in a quite minority.In the context of the points that we pointed out; in this our study, priority was given to the most distinguished works which are in the classical form of classical, neo-classical, romantic, and contemporary period repertoire of our traditional music.The attention is being drawn to artistic life, education and performance of Meral Uğurlu who is generally accepted as having a wide repertoire, performing her works in the most appropriate way within the rules of language, and is very attentive in his understanding of makam and pitches. Further, her perspective of art, attention in choosing the repertoire, the high level of her performance, performance style, and her ways of displaying some other characteristics are explained. With the examination and analysis of six works determined from a classical set and songs performed by our artist in Evcara makam, in general; the concepts of style-conduct in music, in particular, with reference to the performances of Meral Uğurlu, elements such as interpretation of the work, style features, makam and pitch sensitivities, nuances and decorations that express emotion, metronome required by her works were discussed.The differentiations in the performance styles of the Republic Period have emerged, with the name of Classical Turkish music, through simplicity and nuances, contrary to the old performances. As a matter of fact, it is claimed that these differentiations form the basis of today's work performance styles, too.In this context, it is known that the artist takes into account both the pitch sensitivity and all the subtleties of nuance in his performances, large form works being in the first place.In addition, it is thought that Meral Uğurlu, who is claimed to have performed the most appropriate way applying the rules of classical works without turning to the more popular music of the period called Turkish art music, will contribute to the literature in terms of her perspective, approach and exhibition of art in her own period.