With the introduction of postmodernism in Turkey after 1980s, Turkish music performances and Kemence improvisations which is the subject of our study have also changed together with all the dynamics of the society As of this period, in instrument improvisations, approaches were exhibited by using a combination of maqam and non-maqam sounds beyond the goal of showing maqam, where the symmetry was denied, the codes were mixed together and the plagiarism was in question. İhsan Özgen is the most important representation of these approaches which originate from postmodernism, in our subject, kemence performances. In this study, it was aimed to determine the postmodern expressions in kemence performances by doing postmodern and musical analysis of "Opening Improvisation " which İhsan Özgen performed with kemence. For this purpose, the study was evaluated under the headings of Postmodern Approaches in Kemence Improvisations and Postmodern Approaches in the Opening Improvisation of İhsan Özgen. As a result, Ihsan Özgen's "Opening Improvisation" has been found to be formed in the direction of musical attitudes which can be evaluated in postmodern perspective where the limitations are left behind, the codes are mixed and the symmetries are negated.
Turkish Music, Taksim, Kemence, Postmodernism, İhsan Özgen
|Author :||Beste ESEN|
|Number of pages:||270-286|