Evaluation of common timbre and stylistic differences in zurna performance practices in turkey in orgonological framework

The zurna instrument, which has similar forms in different parts of the world, appears in Turkey as a manifestation of cultural richness with performance practices unique to different geographical regions. In this context, this study aims to present sections of the differentiated performance practices of performers from different regions of Turkey (Aydın, Muğla, Thrace, Central Anatolia, Tokat, Sivas, İzmir, Manisa, Bursa, Samsun, Burdur/Dirmil, Erzurum, Erzincan, Gümüşhane, Giresun, Sinop, Kastamonu, Gaziantep, Diyarbakır, Kars and Trabzon). When the zurna performance practices discussed in the study are evaluated in the context of regions, it is clearly seen that there is no single zurna performance practice in Turkey, and this argument is supported by note examples. As a matter of fact, in Aydın and Muğla regions, we encounter a performance style in which almost all of the articulations possible in zurna performance are used, while a style in which fewer articulations are used is observed when moving towards the East. In addition, it was observed that the size of the zurna became smaller as one moves further east from Sivas and Tokat regions. In the Thrace region, which can be expressed as a distinctive example in terms of performance style, it is noticeable that the performances are closer to the style of Classical Turkish Music. In addition, during the literature review, it was observed that contrary to popular belief, there are three recognized types of zurna in Turkey: kaba zurna, orta zurna and cura zurna, as well as orta kaba zurna and zil zurna. Approached from an organological perspective, detailed technical drawings and photographs of these variants, as well as frequency measurements of their sound fields, have been used to make a comparison. It has been observed that this diversity in instruments paves the way for differentiations in performance practices and that the performance preferences varying according to regions are often related to the type of zurna. The similarities in the attitudes of the performers, who are representatives of the oral culture, as well as the differentiation observed, have revealed that there is no single attitude in zurna performance in Turkey, and have shown the richness of the timbre of Anatolian geography. In this context, the aural practices of the sources reached in the relevant study - despite the dozens of examples in circulation notated with simplification tendencies - were re-notated faithfully and the differences between the regions were tried to be revealed. In this study, in which the relationship between the performance practices of each region and the other is analyzed musically, it is aimed to draw attention to the zurna culture in Turkey in the context of performance practices and to contribute to the literature.