Analysis of Nida Tüfekçi's bağlama performance

Along with the views of researchers and academics, the bağlama is regarded as one of the most important elements of Turkish culture. 'Bağlama' which is a musical instrument widely used in Turkish folk music, continues to be embraced and appreciated by the Turkish people despite the increasing diversity of musical trends in today's world. Moreover, the fact that 'Bağlama', with its historical background, has not lost its significance over time can be interpreted through various factors. Among these factors, one of the most significant roles is played by the bağlama performers. Therefore, performance analyses of the prominent figures in bağlama playing, conducted using scientific methods, are of great importance. The focus of this study is the analysis of the bağlama performance of Nida Tüfekçi, who is recognized as a model in various circles for his identity as an artist, performer, educator, folklorist, researcher, and academic. Most of the studies conducted on this subject up to today consist of biographical research. In some studies, only a few sections have been dedicated to his performance. The fact that the analysis of the bağlama performance of a name like Nida Tüfekçi, who is known for his unique artistic expressions in bağlama performance, who was considered as a school for a period and who has many qualities, is not reflected in the studies in a scientific and detailed way can be considered as a great deficiency in the relevant literature. In this context, the ornamentation techniques, right/left-hand techniques, "açış" practices, nuance usage, and the regional and personal performance style employed in Tüfekçi's bağlama playing will be analyzed in detail. In the first part of the study, biographical, fundamental, and concrete information about Nida Tüfekçi will be provided; his compilation works, the Yurttan Sesler Korosu, his relations with radio, the Yurttan Sesler Topluluğu, and TRT; his years at Istanbul Technical University Turkish Music State Conservatory; his educational activities and the students he trained; his musical approach and influences; his views on Turkish folk music; his perspectives on the bağlama; and his qualities as a folklorist and an iconic figure will be discussed. In the second part, the concept of "tavır" (style) will be discussed along with the relationship between the "Sürmeli" style and Nida Tüfekçi, followed by an analysis of the performance of "kırık hava." In the third and final part, information will be provided about the concepts of "açış", improvisation, and "uzun hava," and an analysis of the "açış" performances will be conducted.