A view of 20th century kanoun art through opinions and approaches of five kanoun players (Cüneyd Kosal, Nevzat Sümer, Erol Deran, Hilmi Rit, Nuri Şenneyli)who learned to play kanoun by autodidactic method

In this study, with the help of the narrations of five kanun players, Cüneyd Kosal, Nevzat Sümer, Nuri Şenneyli, Hilmi Rit and Erol Deran, who learnt to play kanun by self-tuition (with autodidactic method), it has been studied what kind of a learning process these five players had experienced within the context of the aforementioned method which stands apart from the modern educational and instructional methods; in terms of learning, what different effects, contributions and deficiencies the autodidactic method has than the academic and methodological techniques; how family aspects effect the learning process; what the impact of curiosity and interest on learning is, and what the contribution of talent is. Having made an elaborate study of the public and private institutions the five aforementioned kanun players have worked in, and at the same time considering the economic and socio-cultural position of the country, it has been tried to be found out in what way these kanun players, who work as professional musicians, might have affected and identified the art of kanun. In addition, within the framework of the performances and records they carried out in their work places, a response has been sought to the question of whether kanun should be regarded as a solo instrument with its performance of taksim (improvisation) and instrumental pieces or it should be perceived as an accompanying instrument. Keywords: Kanun, Turkish music, autodidactism, radio, club music, religious music, Ferid Alnar, Ahmet Yatman, Vecihe Daryal, Cüneyd Kosal, Nuri Şenneyli, Nevzat Sümer, Hilmi Rit, Erol Deran