Examination of Turkish folk music notation approaches in terms of the unity of performance and notation

In this thesis study, the relationship between notation and performance in Turkish Folk Music has been examined using various methods, and how performance practices are transferred to writing within the framework of notation elements and concepts has been investigated. The aim was to make an assessment of performance and notation based on the examinations conducted, using notation examples included in the sampling. In this research, which examines how notation elements are used in representing performance characteristics in THM notation concepts, scanning model, phenomenological, ethnographic, and art-based research designs, literature review, and document analysis methods were employed. The preferred data collection method in the research, research design, and research model have been influential in shaping this thesis with seven headings: Introduction, A Brief History of Music Writing, Notation and Turkish Folk Music, Usage of Notation Elements in Turkish Folk Music, Notation Concepts in Turkish Folk Music, Turkish Folk Music Notations in terms of Performance and Notation Unity, and Conclusion. The scope, nature, objective, method, problem, universe, sample, and limitations of the study have been thoroughly discussed under the "Introduction" section. The terminological elements preferred for use in the study have also been explained in the same section, along with their justifications. In the introduction section, a definition of music writing, its purpose, function, and the requirements of music writing systems have been briefly discussed, and existing information in the literature on the subject has been presented. The aim of this section is to provide the reader with general information about the topic. In the following section, the brief history of music writing has been examined under two subheadings: Western music and Turkish music. The music writings used in Western music have been analyzed in four separate groups: letter writings, letter-shape writings, note writings, and tablatures. The music writings used in Turkish music, on the other hand, have been discussed in three separate groups: letter writings, letter-shape writings, and note writings. This section mainly discusses notation systems chronologically. In the third chapter of the study, information specific to Turkish Folk Music notations in the relevant literature has been compiled and presented. Mention has been made of notation examples published after the first compilation studies conducted in Anatolia, studies on notation, and agenda items related to notation in some meetings. In the fourth chapter, which addresses the usage of notation elements in Turkish Folk Music notations, each notation element has been treated as a separate heading, and the functions of notation elements in the European notation system and Turkish Folk Music have been provided. The fifth chapter of the study examines the notation concepts in Turkish Folk Music, mostly developed in various periods, using the heading "Notation Concepts in Turkish Folk Music." In the examinations conducted in this chapter, classifications made by Charles Seeger, Erol Parlak, and Matthew Warren have been utilized. Seeger's "prescriptive" and "descriptive," Parlak's "identification" and "performance," and Warren's "structural" and "deconstructive" notation classifications, as well as notation approaches of notists in THM notations, have been discussed. The section comparing performance recordings with notation examples and presenting some findings based on the principles of uncertainty, identity, and time-space is titled "Turkish Folk Music Notations in terms of Performance and Notation Unity." Under this heading, particularly different recordings and written notation examples of the same composition, compiled by different individuals/institutions, have been identified, interpreted, and evaluated. In the conclusion section of the study, the findings are interpreted in line with the objectives and problems. In this thesis study, the singular scanning model was used as the research model. In order to determine various parameters related to THM notations, the answer to the question "What is the situation?" was sought in all units of the study. In the section where the short history of music writings is examined, it is observed that theoretical or performance-oriented systems were developed, letter writings were used for many years in Turkish music, different systems were tried during the transition process to the European notation system in Turkish music, and new systems are still being developed to express music. The findings obtained can be accepted as the answer to the question "What is the situation?" The section on notation and Turkish Folk Music, on the other hand, reveals that there have been various discussions about THM notations throughout history. In the case of the usage of notation elements in Turkish Folk Music notations, it is observed that notation elements are used either for their own functions or for different functions assigned to them. The situation in THM notation approaches is discussed in terms of how performance is transcribed into notation, what to consider in the notation process, and the notation approach of the notator. The current situation in this regard is that two methods used in notation, dictation by mouth and dictation from recording, have an influence on the formation of notation understanding, different performance characteristics are emphasized by notators, and as a result, notation approaches are the written representation of the notator's approach to performance. In the written/auditory recordings examined in terms of the unity of performance and notation, it is observed that some notation elements are not provided in the transcribed melodies, which necessitates the interpretation of certain performance practices by subsequent performers. This situation is considered as "uncertainty" within the scope of the thesis. In this study, phenomenological, ethnographic, and art-based research designs were used as research designs. The perspectives of individuals were evaluated in examining Turkish Folk Music notation approaches, and this was achieved through the use of phenomenological research design. Ethnographic research design was chosen as a necessity of the research subject. It was observed that deconstructive personal approaches in THM notations gradually became a structural form over time. This situation was considered as a naturally occurring cultural approach, and in this context, ethnographic research design was used. Art-based research design was also preferred, similar to ethnographic research design, due to the structure of the study. Some of the examples examined within the scope of the study consist of instrumental methods used for educational purposes. In these methods, the use of notation elements and descriptive transcripts produced for the realization of the desired performance were determined, interpreted, and evaluated. This approach in the research is referred to as "art-based research" in the literature. In this study, literature review and analysis of obtained documents continued for data collection. Document analysis was preferred as the data collection method, which provided benefits in investigating the studies of individuals and institutions that cannot be directly accessed. In addition, it was considered that document analysis was the best method to obtain this data, which does not require natural or artificial environment examination and does not require personal interviews. As a result of the determined method and conducted research, numerous documents, audio recordings, and notation examples were obtained. The study reveals that the level of detail in notation, pitch representation methods, and historical processes have an impact on the classification of notations. It is observed that there is a certain progression in the understanding of notation in Turkish Folk Music, and the classifications made by Charles Seeger, Erol Parlak, and Matthew Warren have corresponding interpretations in notation approaches. Furthermore, the study finds that different approaches have been adopted in Turkish Folk Music notations during different periods, leading to the emergence of new understandings. In educational notations, descriptive symbols are frequently used, while analytical and performance notations use fewer descriptive elements. Analysis notations often rely on new transcriptions or colored versions of specifictranscriptions. It is also noted that certain notation elements such as dynamics and articulation are either not used or used sparingly in some notations, allowing for more ambiguous interpretation by performers. These findings contribute to understanding the relationship between Turkish Folk Music notations and performance.