Right hand techniques in dutar performance

This master's thesis study aims to identify, analyze and classify the right hand stroke techniques encountered in dutar performance. It also seeks to examine and the right hand stroke patterns formed by various configurations of these techniques. The study commenced with a thorough literature review, providing a comprehensive overview of the historical background of the dutar, spanning approximately 4350 years. The literature review was instrumental in gathering relevant sources to support the sub- sequent discussion. Furthermore, the study elucidated the physical characteristics of 13 distinct types of dutar, which have undergone evolutionary changes and develop- ments throughout their historical trajectory including their manufacturing methods, the kinds of strings utilized, and the number of frets they have. The traditional notation system used to transcribe dutar performances, as well as other transcription methods developed by researchers, academics, and musicians, were found insufficient in vari- ous aspects. Therefore, for the purpose of this study, a new notation choice that was originally developed to represent strumming techniques in plectrum-less saz/baglama performance (known as "Şelpe") but also allows for a comprehensive representation of dutar performance, was adopted. Additionally, similarities in the manner of playing and the purpose of right-hand strumming techniques used in the dutar and the right- hand "pençe" techniques performed in plectrum-less saz/bağlama performance were addressed. Based on this comparison, a new terminology choice was made to express the right-hand strumming techniques in the dutar. These techniques performed in the dutar were evaluated and referred to as the "pençe technique". Subsequently, the study analyzes sample performances through online video resources to identify the pençe techniques performed in dutar performance. Each identified tech- nique is symbolized, photographed, and described in detail, considering its playing method and purpose. Moreover, the study notes that various combinations of these techniques give rise to numerous right-hand patterns, which contribute to the charac- teristic structure of dutar performance. A classification is established to facilitate the transmission of these patterns, resulting in the identification of primary pençe patterns and compound pençe patterns formed by combining various primary patterns. Accor- ding to this classification, two types of primary pençe patterns are observed in dutar performance. The patterns consisting of two, three, and four strokes, performed in va- rious rhythmic, metric, and technical manners, are labeled as "II" (Roman numeral) patterns for those with two strokes, "III" patterns for those with three strokes, and "IV" patterns for those with four strokes. The technical variations that can be performed with these patterns are denoted as "II1 , II2 , II3 , II4 ..." based on the number of strokes, with the variant number indicated in the upper right part of the Roman numeral, which is shared in the findings section of the study. After providing a comprehensive description of the primary pençe patterns, the study described compound pençe patterns. These patterns are explained with a technique of coding that depicts the constituent primary patterns. For example, they may be labeled as "II5+III14+III8" The study also notes that compound patterns may include unidirectional strokes, symbolized by the letter "I," with technical variations indicated as "I1 ,I2 , I3 , I4 ..." based on the possible techniques. Similar to the primary patterns, the variant number in the upper right part of the Roman numeral indicates the corresponding tech- nique, which is also shared in the findings section of the study. Through this classifi- cation and symbolization approach, systematic analysis of compound pençe patterns is achieved. In line with the limitations of the study, multiple compound pençe patterns are identified and analyzed from online video performances representing the Uzbek, Uyghur, and Turkmen dutar traditions. These samples include performances by Abdurahim Hamidov, Guzal Muminova, Abdurehim Heyit,Annaseýit Annamyradow, and Yslamguly Annagulyýew. The transcriptions of these patterns are provided under relevant headings in the study.