Stakeholder Opinions on Suitability of Cello Etudes Created From Taksims of Tanburi Cemil Bey in Education

Abstract

There is a necessity for listening to and even probing into the recordings of the performers who reached the level of mastery in the performance of Turkish Classical Music, which is based on master-apprentice relationship. In this sense, the recordings of Tanburi Cemil Bey, who opened a new era for the next generations with his performances, and especially his taksims (maqam improvisations) significantly manifesting his control over his instrument and his creativity, are of high importance. Tanburi Cemil Bey's taksims, which have survived to this day through the recordings at hand, possess numerous elements to provide technical and musical development for cello learners. In this study, the etudes which may contribute to cello education have been written by taking these elements into consideration -in adherence to the melodies of Tanburi Cemil Bey-, also with bowing signs, fingering numbers, ornaments, etc. made available for cello education. Behaviors which each etude aims at providing are described with the explanations below the etudes.

The purpose of this study is to help learners understand Tanburi Cemil Bey's technique, tavır (individual practice), üslup (style) in his cello taksims, to enrich the maqam repertoire of the cello which can be used for methodical teaching purposes, and to contribute to the etude repertoire of the cello which is inadequate for use in Turkish Classical Music. The usability of the etudes created in frame of this study for cello education has been evaluated in line with the opinions of various stakeholders (instructors, students) in the field of cello education.

Key Words: Tanburi Cemil Bey, Taksim, Violoncello, Cello, Etude.