Mükerrem Kemertaş's vocal performance analysis in line with style transcription

This research aims to systematically analyze the vocal performance style of Mükerrem Kemertaş, one of the leading performers of Turkish folk music. The research has a qualitative research design and is conducted on the basis of a historical research model. Document review technique was used as a data collection tool, and written, visual and auditory sources were scanned in detail. In addition, information obtained from interviews with the artist's son was included in the process. Mükerrem Kemertaş's voice recordings were evaluated comprehensively, and detailed vocal analyses were conducted on five different folk songs. Vocal analyses were performed with a specially developed transcription alphabet; the vocal characteristics, transitions, ornaments and nuances during the performance process were detailed using this alphabet. The folk songs examined in this context are as follows: "Huma Kuşu", "Kara Gözler", "Göç Göç Oldu", "Yavrum Bugün Yaradan Var" and "Aşkın Ezeli Aşıka İlham-ı Hüdadır". Each work was analyzed in detail in accordance with the transcription system, and the artist's characteristic vocal structure was evaluated in a multi-faceted manner. According to the findings, the rich and conscious use of vocal techniques in Mükerrem Kemertaş's uzun hava and hoyrat genres draws attention. In "Huma Kuşu", ornaments such as vibrato, glissando and apogiatura strengthen the dramatic expression of the work, while melismatic and syllabic expression styles are included in a balanced manner. Regional dialect characteristics and phonetic variations reinforce the originality of the interpretation. In "Kara Gözler", the characteristic elements of Muhayyer makam are successfully reflected with melismatic expression and vocal ornaments. In "Göç Göç Oldu", Hüzzam makam and techniques such as vibrato and glissando within the framework of the narrow vocal range increase the aesthetic value of the work. In "Aşkın Ezeli Aşıka İlham-ı Hüdadır", the rhythmic structure in Mahur makam and 3/4 usul balances technical and emotional expression. Finally, in the folk song "Yavrum Bugün Yaradan Var", the Gerdaniye makam, melody boundaries and various vocal ornaments have preserved the local style. In general, Kemertaş's performances offer both melodic richness and deep emotional expression by blending makam, form and local features with technical mastery. These analyses reveal the functional use of vocal techniques and stylistic preferences in Turkish folk music long air – mixed air performances. Key Words: Turkish Folk Music, Vocal Analysis, Performance Style, Mükerrem Kemertaş, Transcription Alphabet