Difference between notation and performance in classical kemenche performance in Turkish music: The example of Aleko Bacanos

In Turkish music, the classical kemenche was initially used in fasıl performances and delicate ensembles before the 20th century. However, it has become one of the most important instruments in our music since then. Tanbûri Cemil Bey's playing style played a significant role in the kemenche's inclusion among the prominent instruments of Turkish music. Additionally, the playing style employed by performers of Greek origin has also held an important position in our music. This study examines the elements of style and attitude found in classical kemenche performances, as well as various interpretations and expressive elements found in compositions. Through these analyses, the aim is to contribute to the written sources of classical kemenche performance in Turkish music. The performance style of the Greek Kemenche, one of the kemenche performance attitudes in Turkish music, has been transcribed through various indicators by listening to available recordings. The analysis has provided data that sheds light on the previously unexamined performance style of the Greek kemenche and Aleko Bacanos' playing style. Based on the findings, it can be concluded that the interpretative and expressive elements used by Aleko Bacanos, one of the representatives of Greek kemenche performance, align significantly with the classical playing style elements found in Turkish classical kemenche performance. These findings suggest that both styles can be taken as examples and followed by performers of both traditions. Consequently, it is concluded that the Greek performance tradition operates on a different level than what is commonly referred to as the "commercial style," and Aleko Bacanos' playing style is presented. Keywords: Turkish music, classic kemenche, Alekos Bacanos, style, attitude.