Investigation of Bekir Sıtkı Sezgin and Meral Uğurlu's performance styles in the dügâh kar sample

In this study, the subject of this study is to examine the performance styles of Bekir Sıtkı Sezgin and Meral Uğurlu, two of the vocal performers of Classical Turkish music, who sang Hacı Fâik Bey's Kâr composed in the Dügâh maqam and light style, in the Dügâh Kâr sample. Within the framework of the study, the Kâr form in the Dügâh maqam was examined. The aim of the research is to shed light and be a resource for people who perform oral works in the field of Turkish music and for future generations. In the study, Turkish music was first briefly mentioned and then the Kâr form was explained. Brief information is given about the musical lives of Hacı Fâik Bey, Bekir Sıtkı Sezgin and Meral Uğurlu. Additionally, the descriptions of the Dügâh makam were examined. Qualitative research and scanning model were used in order to reveal what kind of style and attitude Bekir Sıtkı Sezgin and Meral Uğurlu performed in the audio recordings. While collecting data, first of all, electronic and written sources were examined to obtain information about the research topic. The sound recordings of Bekir Sıtkı Sezgin and Meral Uğurlu, who performed Dügâh Kâr, composed by Hacı Fâik Bey, were dictated and notated. The performances of two performers were comparatively examined and analyzed based on the performances that were dictated and noted. As a result of the analysis, the findings obtained were evaluated and their performances were compared. It was determined that the classical styles of Bekir Sıtkı Sezgin and Meral Uğurlu were close, but their classical attitudes and theoretical performances were different.