Compositional structure and performance practice in Yorgo Bacanos's taksims

Because the taksîm form inherently contains a degree of structural freedom, it provides performers with a space in which they can most effectively showcase their technical and musical abilities. When the taksîm form is mentioned, one of the first names that comes to mind is Yorgo Bacanos, who stands among the most significant oud performers in Turkish music. His musicality, performance style, technical skills, and the characteristic timbre he produced on the instrument have made him a major source of inspiration for subsequent generations of oud players. In this study, the historical development, function, and performance practices of the taksîm within the Ottoman–Turkish musical tradition are outlined. The musical environment of the relevant period, as well as the prominent performers of Turkish music who emerged within this context, are discussed in relation to their contributions to the tradition. The life of Yorgo Bacanos is presented through information supported by an audio recording made with the artist, emphasizing the musical milieu in which he was raised, the education he received, and the trajectory of his musical career. In doing so, the historical background and cultural setting that shaped his artistic identity are revealed. In the analysis section of the research, selected examples from Bacanos's various taksîms recorded on shellac discs were examined in terms of compositional structure, the seyir (melodic progression) characteristics of the relevant makams, melodic configurations, rhythmic variations, and performance techniques. As a result of these analyses, Bacanos's right- and left-hand techniques were examined, and the findings regarding his performance practice were presented in a systematic manner. His performance style was subsequently evaluated together with its compositional features and organized under relevant subheadings.