An examination of the drum – zurna practices of the Teke region based on the opinions of local performers

This study aims to examine the performance practices of the davul-zurna tradition in the Teke region, based on the views and experiences of local performers. The primary objective of the research is to reveal how the demographic characteristics of the practitioners who maintain this tradition, their learning processes, as well as the structural and terminological features of the instruments, cultural interaction dynamics, areas of practice, and the characteristics of the repertoire are shaped at the local level. Additionally, the study aims to contribute to the systematic documentation and intergenerational transmission of traditional knowledge that is orally and musically conveyed. Designed as a qualitative research study, the methodological framework is based on ethnographic cultural analysis, with a specific focus on music ethnography. This ethnographic research, representing an example of a musical culture, incorporates all artifacts (verbal, behavioral/ceremonial, and physical) that reflect this culture. Data were collected through interviews and document analysis. Semi-structured interviews were conducted with a total of 45 key participants within the cultural boundaries of the Teke region, encompassing the provinces of Antalya, Burdur, Isparta, Muğla, Afyon, and Denizli. The data obtained were analyzed using descriptive analysis techniques. Findings from the interviews with the 45 participants indicate that the transmission of the davul-zurna tradition is maintained through both familial and societal learning dynamics, primarily within a master-apprentice relationship. It was found that the davul and zurna instruments, as well as the musical pieces, are referred to by various local names. In terms of structural characteristics, davuls are generally classified as small or cura davul, while zurnas are categorized into cura zurna, orta zurna, and orta kaba zurna. Regarding the areas of practice, a total of 39 pieces forming the davul-zurna repertoire of the region were identified. These pieces were analyzed in terms of their pitch range, modal characteristics, and rhythmic structures. The majority of the pieces are performed during weddings and wrestling events. From a modal perspective, most of the pieces follow the scale and melodic progression of the Hüseyni mode, with frequent use of Nikriz, Rast, and Karcığar flavors. In terms of rhythmic structure, meters of 2, 4, 5, 7, and 9 beats are employed across the repertoire, with pitch ranges spanning between 6 and 12 tones.