Analysis of Kadıoglu diversifications in TRT repertoire from the point of baglama performance

Zeibeks have an important place in Turkish folk music. It was usually performed with instruments such as zurna and clarinet in the region. As for the baglama, the performance was in the form of conformation from zurna and clarinet. In the adaptation of music originally performed with wind instruments to a stringed and plectrum instrument, different kinds of performance have emerged originating from the structure of the instrument. Long sounds blown out by the zurna are replaced as "tril" and "çırpma" on the baglama. Therefore, a performance style called "Zeibek plectrum style" has emerged on the baglama too. In the study, primarily, Kadıoğlu diversifications in TRT Turkish folk music repertoire were identified and examined. Since the notation used in TRT appeals to a general coterie, the forms of the plectrum and the performance characteristics are usually written in a simple form. As for the works that have style characteristics, they were applied with the "meşk" method during the performance. However, with the disappearance of the master/apprentice system over time, local performance and plectrum styles began to be lost or performed incorrectly. Therefore, the "meşk" method of performance has an important place in folk music. In this study, the need to rewrite the notes of the identified zeibek pieces was considered necessary for the performers who are not acquainted with the region to perform the works in accordance with the local style. In this study, the survey model was used, and after the essential literature review, 8 Kadıoğlu diversifications in the repertoire were identified and examined. The discrepancy between the notes in the repertoire and the performance were compared and examined by creating charts. In the introduction chapter of the study, brief information about Turkish folk music and zeibeks are given. In the second chapter, the sources used as literature research are shown. In the third chapter, appliances and method are referred, and information about the purpose, place, time, nature, sample, and consideration process of the study is given. In the fourth chapter of the study, overall information about Turkish folk music is given, and the importance of the baglama and local plectrum styles in folk music is underlined. In the fifth chapter of the study, general information about the notions of zeibek and efelik is given, and information about the music of Aydın and Muğla regions where Kadıoğlu diversifications were collected is also given. In the sixth chapter of the study, information about Kadıoğlu diversifications were given and examined from the point of performance. The performance of Kadıoğlu diversifications in the repertoire were notated and the differences between the repertoire notes and the notes in the performances were compared.