Özet:

Göksel Baktagir, after virtuosos such as Kânuni Ömer Efendi, Âmâ Nâzım Bey, Kânuni Hacı Arif Bey, Vecihe Daryal, Erol Deran, is an artist who is now regarded as a school in terms of his innovative approaches to kanun performance and his performance technique, as well as an important kanun performer and composer who revitalised Turkish instrumental music forms with his many compositions and inspired many kanun players and composers. The aim of this study is to determine Göksel Baktagir's understanding of progression in his Kurdilihicazkâr taksims, to reveal the variations, quartets and fifths he used and to compare them with the Arel-Ezgi-Uzdilek theoretical system. The study is a "descriptive" research because the literature on Göksel Baktagir, taksim and Kurdilihicazkâr maqam is reviewed and the current situation is revealed. Content analysis technique was used to analyse the data. The sample of the research consisted of four Kurdilihicazkâr taksims available in Göksel Baktagir's albums. As a result of the preliminary interview with him, all the taksims in his albums were analysed one by one. Fifteen taksims with makam qualities were identified and four of them in Kurdilihicazkâr makam were analysed. As a result of the analyses, it was determined that Baktagir's Kurdilihicazkâr taksims generally overlap with the Arel-Ezgi-Uzdilek system, and that he used both forms of the Kurdilihicazkâr makam, unified and shad. In addition, it has been determined that the variations of Uşşak in Gerdaniye, Uşşak in Rast, Buselik in Tiz Neva and Çargâh in Şehnaz, which are not included in the main scale of the Kurdilihicazkâr makam, are used, and the variations of Nim Zirgüle without variation and Buselik in Acemaşiran, which are present in the Kurdilihicazkâr makam, are not used.