The impact of folk song arrangement practices on guitar performance

When examining the use of the classical guitar in Turkey, it is observed that the instrument was initially learned and taught through individual efforts, gradually gaining popularity among the public, and later—beginning in the 1970s—was formally incorporated into educational institutions as an academic course. In the early stages of this process, several internationally recognized classical guitar methods, such as those by Arenas, Carulli, and Mourat, were utilized. As Turkish guitarists began to emerge, national studies were developed that, while similar to these widely used methods, differed by incorporating arrangements of Turkish music within their pedagogical content. With these relatively recent studies conducted within the context of classical guitar and Turkish folk music, it can be stated that the number of etudes and compositions written for classical guitar education has increased and become more widespread, gaining greater visibility in both professional and amateur guitar training. Designed with the intention of contributing to the field, this study aimed to investigate the effects of etudes and folk song arrangements—created by integrating techniques commonly used in classical guitar performance such as legato, tirando, and arpeggio with Turkish folk music motifs—on students' guitar performance levels when implemented in the undergraduate guitar courses of İnönü University Faculty of Education, Department of Music Education. In addition, the study sought to evaluate students' opinions regarding the impact of these practices. In this research, a mixed-methods approach combining both qualitative and quantitative methodologies was adopted, based on an explanatory sequential design. In the quantitative dimension, a single-group pretest–posttest model was employed, while in the qualitative dimension, the characteristics of a case study design were utilized. Quantitative data were collected through the Guitar Performance Achievement Form, while qualitative data were obtained using a Semi-Structured Interview Form administered to the students in the study group. During the implementation process, exercises, etudes, and folk song arrangements prepared for the students were applied alongside pretest and posttest assessments. The recorded performances were evaluated by a field expert in terms of technique, musicality, and overall performance. The quantitative data obtained were examined for normality using the Shapiro–Wilk test and analyzed with a paired samples t-test. Qualitative data were analyzed using content analysis and structured into themes, subthemes, and codes. The results of the study revealed that the integration of culturally contextualized materials into classical guitar education made significant contributions to both technical development and the enhancement of musical expression skills. Furthermore, it was determined that a repertoire consisting of familiar melodies increased students' motivation, enhanced their willingness to learn, and had a direct impact on their practice duration. In conclusion, it was demonstrated that re-evaluating classical guitar pedagogy through a multidimensional approach nourished by local musical culture—rather than being limited solely to the Western music repertoire serves as an effective strategy that enhances the quality of learning in both technical and affective dimensions. Keywords: Classical Guitar, Turkish Folk Music Arrangements, Guitar Adaptations