@article{2017,title={AN EDCUCATIONAL AND OBSERVATIONAL OVERVIEW TO MUNIR NURETTIN BEKEN’S “DOUBLE CONCERTO” FOR 3 AND 4 STRINGED CLASSICAL KEMENCHE},abstractNode={The first description that comes to mind when it comes to "concerto" in instrumental music is the work which is written specifically to an instrument, is performed in accompanied by the orchestra and is written in the "sonata allegro" form especially after the classical period. Although this form is included in the European-origin musical tradition, it was also used by the new music composers of our country after our Republic revolutions. However, in the music culture of our country in which the tradition of composing a music specific to instrument is extremely weak, especially the number of works in the form of concerto composed for our traditional instruments is very few. In fact, this number was just one until fifteen years ago. In this study, while brief information about the historical development of two instruments was given, concerto form was also described with the stages it underwent since its first appearance in the stage of history until today. Furthermore, the writing, studying and performing processes of "Double Concerto", which was written by Münir Nurettin Beken for 3 and 4-stringed Classical Kemenche and Orchestra in 2017, were described, and ideas were generated on the solutions of the artificial problem that existed between the artists performing two instruments over time. In addition, the issue of how composer Münir Nurettin Beken subjectively used the traditional Ottoman music in the polyphonic composing method was also examined. Both literature review and the composition of direct personal knowledge and experience gained constituted the research method of the article.},author={Hatice Doğan SEVİNÇ-- Hakan ŞENSOY},year={2017},journal={The Journal of Social Sciences}}