HALK MÜZİĞİNİN AKTARIMINDA KAYNAK KİŞİLERDEN FAYDALANMA: MUSA EROĞLU ve KAYNAKLIK ETTİĞİ TÜRKÜLER ÜZERİNE BİR ANLATI ARAŞTIRMASI

Abstract

The transmission of folk music tradition has been ensured by the teaching processes shaped between the masters and their apprentices, who undertake the carrier of this culture within the framework of the mastery culture and combine their competence areas such as performing, composition and songwriting in their own literary-musical identities. In this context, the idea of obtaining historical anecdotes, data and opinions based on personal testimonies that can be used in the aforementioned teaching processes while they are still alive by using the developing technological opportunities and communication opportunities gain value. In this context, this research aims to exemplify being able to benefit from the masters, who are often the direct producers of the works as Abstract Musa Eroğlu is one of the most important sources for teaching folk music due to his being one of the most important representatives of our traditional folk music culture in this century, his versatile musical identity such as composing, performing, compiling, teaching and his contributions to tradition. For this reason, studies that can be done on Musa Eroğlu's performances and editions used in the teaching of folk music and folk instruments, and the folk songs that he sources in the repertoire, can exemplify the use of the informants, who are the direct producers of the works, as primary data sources. It can make it possible to eliminate the signs of the intervention and censorship that took place in the past in the dimension of word and melody in the notes, and in this way, it can provide positive effects in terms of quality in the materials that can be used in the teaching of folk instruments. This qualitative study is an essay on narrative research. Eroglu is a bağlama tutor, based on the presence of many who have developed their baglama playing skills by adopting the way of and listening and imitating the instrument lessons he gives through direct practice, master-apprentice relationship. He is a bağlama with his unique baglama playing style he and the original sound he He baglama performer and artist because he specific but also force possibilities his