Examination of Mehmet Fahri Kopuz's oud performance style

This thesis seeks to analyse six taksims, seven instrumental compositions, and five additional instrumental pieces performed by Mehmet Fahri Kopuz, a pivotal artist of the 20th century. Initially, the study explores the history of Turkish Makam Music, the meşk system, and the concept of stylistic expression. Following this, it examines the taksim genre, the oud instrument, and the life of Fahri Kopuz. Transcriptions of taksims in the makams Hicaz, Hicazkar, Hüseyni, Hüzzam, Kürdilihicazkar, and Suzidil, as performed by Kopuz, are included. Furthermore, transcriptions of his compositions, such as Ferahnak Saz Semai, Hicaz Oyun Havası/Arab Raksı, Isfahan Saz Semai, Mahur Medhal, Nikriz Sirto, Nişaburek Peşrev, and Suzidil Saz Semai, as well as performances with the Darü't-talim-i Musiki Heyeti, including Hicaz Oyun Havası/Arab Raksı composed by Fahri Kopuz, Hüseyni Saz Semai composed by Tatyos Efendi, Kürdilihicazkar Longa composed by Sebuh Efendi, Mahur Medhal composed by Fahri Kopuz, and Nihavend Longa composed by Kevser Hanım, are presented. These transcriptions were created using Finale notation software. The study also explores various aspects of Kopuz's oud technique, including right hand articulation, tonal quality, left-hand technique, tuning, ornamentation methods, motif structures, rhythmic elements, and deviations in the scale of instrumental pieces compared to standard notations. Additionally, stylistic and makam analyses of the taksims and compositions offer insights into Kopuz's distinctive oud performance style, informed by transcriptions and recordings. Theoretical sources from the 17th to the 20th centuries are utilised to support makam studies. The findings highlight Kopuz's dynamic and agile playing style, notably his frequent use of the acciaccatura ornament, which draws its value from the preceding note. Observations also reveal his increased use of the plectrum in instrumental pieces, breaking longer notes into shorter intervals to add complexity to his performances. Formal analysis is structured around an introduction, development, and conclusion framework. The descriptive approach applied in makam studies aligns closely with that of Ekrem Karadeniz, likely reflecting Kopuz's association with Abdülkadir Töre. In conclusion, the study asserts that Mehmet Fahri Kopuz's mastery of the oud, both in performance and composition, affirms his influential role in 20th-century Turkish Makam Music.