Abstract
ANALYSIS OF THE MAQAM AND TECHNICAL ASPECTS OF HAKKI DERMAN'S HÜZZAM VIOLIN TAKSIM
This study evaluates the performance style of Hakkı Derman, one of the important violin performers of Turkish music, through his improvisation in the Hüzzam maqam. Derman's understanding of the Hüzzam maqam, the bowing technique he used, and the embellishments he made constitute the purpose of this study. Hakkı Derman (1907-1972) performed Turkish music with a style unique to its performance tradition, using a long bow and embellishment techniques that did not go overboard. Hakkı Derman (1907-1972) was one of the violin performers cultivated by our music, with a style unique to Turkish Music performance and his use of a long bow, along with ornamentation techniques that did not go to excess, and he paved the way for violinists who came after him. A descriptive survey model was used in the study. The tonal analysis examined the tonal space of the maqam, the bowing technique used on the violin within the progression of the maqam, and the ornamentation employed. Derman's Hüzzam taksim is seen to be performed in the Mansur ney tuning. It can be said that Derman's melodies, with their long bow strokes, demonstrate agility, producing appropriate and original tunes in line with the classical style, and in some cases, he uses open string positions within the maqam. In addition to vibrato, it has been observed that he effectively uses techniques such as glissando, staccato, and double staccato within his own performance style. Derman's Hüzzam taksim is an instructive piece that well defines the maqam, and the bowing techniques he uses in the taksim serve as examples for Turkish Music violin education. In Derman's taksim, it is seen that he performed the Hüzzam maqam in a classical manner, without deviating from the maqam, and in a way that is consistent with the Turkish Music violin understanding.
Keywords
Violin, Hakkı Derman, Taksim, Hüzzam Maqam, Music