In this study, which was conducted based on Cinuçen Tanrıkorur's two saz (a stringed instrument) works in order to examine the less used or preferred musical expressions of traditional Turkish music notation and to provide an idea of whether these should be used in modern-day notation, document analysis and interview methods were used to determine the situation in the qualitative research model. In this research, Cinuçen Tanrıkorur's two saz works were examined for the determination and interpretation of musical expressions. The works were examined through the composer's own handwritten musical notes, and these, with reviews in digital media, were added just below the comments. An idea was developed with these expressions used with regard to how works should be performed, and suggestions were made on how these expressions will be perceived and applied by traditional performers. Examining these two works was thought to be useful in order to find a solution to the negative aspects besides the positive aspects of musical note and performance differences, and in terms of correcting the wrong aspects that appear in the notation and completing the missing aspects.
Turkish Music, Writing Musical Notation, Musical Expression, Cinuçen Tanrıkorur
|Yazar :||Kibele KIVILCIM ÇİFTÇİ -|