Abstract:

The performance style of Aslan Hepgür, one of the violin players of the last period, was examined through the taksim he made in the makam Kürdilihicazkar. In this study, it is aimed to reveal the positions that Hepgur used in the execution of Taksim, the decorations and bow techniques that he applied. In this study, descriptive survey model was used. The sound field of the maqam performed in the taksim, the cruising characteristics of the maqam and the transitions have been analyzed. The decorations, positions and style of the implied taksim have been analyzed in terms of violin performance. In line with the analyzes made on Taksim, Hepgür's Kürdilihicazkar taksim was performed in girl ney accord. It can be said that Hepgür used unique expressions in the melodies he applied, and produced original melodies by not leaving the traditional understanding of navigation. In addition, glissando, vibrato, multiplication and different techniques were used effectively in their own performance style. In the study, it is aimed to reveal the violin performance of Aslan Hepgur, who assimilates the classical style in all its aspects and reflects his own performance characteristics in his performance, and to contribute to those who will conduct research in this field in particular. In addition, after providing brief information about Hepgur's life and art, the official and performance analysis of the taxi was conducted using the method of the late Yavuz Özüstün, who worked as a teacher at the Istanbul technical university conservatory of Turkish music for a long time. It has been concluded that Hepgür performed the Kürdilihicazkar maqam with a classical manner in Taksim, performed the violin in his own unique way and continued the traditional style.

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