Speacial to Niyazi Sayin, Sadrettin Özçimi, Ahmed Şahin and Yavuz Akalin the relationship between style and school in the ney instrument

Niyazi Sayın, who is the representative of the Classical Turkish Music Educational System in the performance of the ney instrument, developed techniques in order to make it possible to perform the frets that are difficult to obtain in the ney. These techniques have been shaped by their special lip vibratos, strokes, glissandos, and accents, and complemented themselves with melodic variants. In this study, primarily, the history of the ney instrument is discussed, and then the issue of tone is introduced in the context of Turkish music and ney instrument. In order to determine the elements of tone of the performances to be analyzed, the methods taught in the meshk system were taken as basis and the nuances were determined. The definitions of the elements that determine the tone are given, and examples of the analyzed performances are presented. The issue of system and meşk has been dealt with in terms of Turkish music and ney, and biographies of Niyazi Sayın and his students are included. In the study, the definition of Peşrev and Saz Semai were formed after examination. In the findings section of the study, the tonal elements of Neyzen Niyazi Sayın and his students Sadrettin Özçimi, Ahmed Şahin and Yavuz Akalın were examined individually and comparatively. The works that were analyzed in the study were Nedim Ağa's Sultânîyegâh peşrevi and Saz semai. Based on the hypothesis that the meşk sequence and the system are important in terms of tone, the elements of tone the elements of tone of the performances of the works were examined in a concrete way and the importance of the sequence in the continuity of an educational system was tried to be expressed.