Özet:

Cemil is a very important executive who has emerged in the history of Turkish musicians with Tanbûr icrâs, and has been acclaimed with his icrâs in sazes like Klasik Kemençe, Lavta, Yaylı Tanbur, Violonsel, and has brought in the body unique works of Turkish musicians, especially under the title of Saz Musicians. Mr. Cemil also left a work in the Turkish mosquito Nazariyat area called the Guide-i Mosquito. The similarities and differences between Nazareth and Execution in Turkish music have been subject to many research. With the evaluation of the sound records of the works and master executives, which are the basic sources of Nazareth of Turkish music, we can understand more deeply the office structure and wealth of our music. In this work, the taxis in the Hussein's office, which Mr. Cemil has done with the violoncel, are based on the authority of the Guide-i Mussiki in which he is the authority. Thus, the similarities and differences between Mr. Cemil's Nazareth approach and execution were tried to be concretized by the authority assessments. As a result of the study, the importance of the award in the understanding of the Turkish musicians authorities was six drawn, this and similar work was proposed to be materialized in the field of education and teaching of our musicians.

Anahtar Kelimeler:

Özet:

Cemil Bey came to the fore with his performance of Tanbur in Turkish music history, became a school with his performances on instruments such as Classical Kemençe, Lavta, Yaylı Tanbur, and Violoncello besides the tanbur, and he is a very important performer who has composed unique works of Turkish music, especially under the title of Turkish Instrumental Music. Cemil Bey also left a Book called Rehber-i Mûsikî in the field of Turkish music theory. The similarities and differences between theory and performance in Turkish music have been the subject of many studies. By analyzing the music, which are the basic theoretical resources of Turkish music, the works that have survived to the present day and the sound recordings of master performers, the structure and richness of our music can be understood more deeply. In this study, Cemil Bey's taksim in Huseyni makam, which he made with the violoncello, was examined on the basis of the makam expression in Rehber-i Mûsikî that he was the author of. Thus, the similarities and differences between Cemil Bey's theoretical approach and execution were tried to be concretized with makam analysis. As a result of the study, the importance of performance in understanding Turkish music makams was underlined, and it was suggested that these and similar studies be introduced to the field of education of our music.