The The Continuous Mızrap in Oud and İbrahim Ziya Özbekkan

Abstract

Continuous plectrum is a concept suggested for therapy in which consecutive sounds of equal duration in the ud are divided into small pieces with the same freedom, long sounds are played like a tremolo and the smallest divided piece on the melodic line is stored in the unit memory. It is frequently seen not only in the oud but also in the early recordings of Turkish music plectrum instruments (tanbur, lute, lute, etc.). Another feature of the ouds that play with the plectrum style is that they play from a region close to the sound cage, which allows the plectrum to move easily, and to have a soft tone. In today's performance, the continuous plectrum technology exists as a small haunt for decoration among the performances of different schools, which are widely used. In this study, it is technically intended to refer to the oldest examples, where the continuous plectrum is combined, to the present day. In this sense, you will be able to compare the frequency of use of the masters by chronologically examining the motifs containing the plectrum in the taksim records of the plectrum masters. It will be examined in terms of the continuous use of plectrums with examples from masters such as Udî Nevres Bey and Şerif Muhiddin Targan. The natural trace of this attitude will be traced with the own interpretations of the mentioned artists or daily comments on the technique, milk and meşk sequences conveyed by those who listen live. Hints of the existence of this technology will also be sought in the performances of ouds or tanburis by other members of the school. In the study, Neva taqsim analysis made by İbrahim Ziya Özbekkan, whose personal life and performance have not been studied before, is done. Although İbrahim Ziya Bey, the brother of composer Suphi Ziya Özbekkan, led a reclusive life. Because our knowledge of him has a wide range of possibilities. In addition to telling the tale of Udî Nevres Bey, the performance of the known artist, who also took part in the lesson from Ali Rifat Çağatay, makes it possible for us to speculate on the performance of Ali Rifat Bey, whose documents have never been recorded. Since his surviving relatives could not be reached, detailed biographical information was limited only to the possibilities presented in writing, the period in which he lived, the social environment, etc. not included in the limits. It is obvious that a permanent bridge has been established from the past with the clear performance of Özbekkan, who is one of the nationalities of these behaviors, which remains in the archives like a nostalgic voice, and is informed by the improvisations of Udî Nevres Bey and Şerif Muhiddin Targan. The study is limited to dealing with one partition. However, it has the feature of being a prototype for the big dissemination to be made about Özbekkan. It is possible to come across the remnants of the plectrum techniques, even today, where the plectrums do not change constantly and the social pleasure transforms in the performance of taksim with plectrum instruments. In this study, the data analysis method, one of the qualitative research methods, is used to examine the transformation of playing style. Neva Taqsim of İbrahim Ziya Özbekkan has been scored and presented for this study. Furthermore, the specialty of the ecole is specified with ornament marks on the sheet and compared with the taqsims that belong to the other members of the ecole. It has been concluded that the taqsim techniques of other members, which include teacher-student relations, are very similar. The differences between the names of the ecole have been kept out of the article due to it is not associated with the subject of “continuous mızrap”.