Author : Hazan KURTASLAN
Number of pages : 155-170


The first significant developments regarding the interest in Western Music and provision of this music arose in the period of Mahmud the second. Mehterhane producing Turkish military music, to substitute the Muzika-i Humayun (the Grand Musical Band) was established with the aim of providing Western music education, to raise personnel for the palace and army bands. Concerts released by symphonic orchestrates enabled Western Music to be introduced and disseminated in our country. All these reforms implemented in the name of music entered a new era with the declaration of Republic in 1923. Since the foundation of the Republic improvements in music area has gained speed thanks to Ataturk’s support. Young talented musicians were sent abroad to receive education on composing and performance. The trained composers composed lots of pieces of art by benefitting both from Ottoman and Anatolian music and electronic music materials. Some of those composed for the flute are today used and performed for the educational and artistic purposes. In this research the flute works composed by the Turkish composers were determined and the analysis of those recorded was aimed among all. The research is descriptive and the state of has been determined. In the research documental analysis method of the qualitative research methods was used and the literature was scanned, the pieces of art were reached and analysis of the research with recordings was realized in terms of general and musical characteristics. In the end of the research it was detected that the Turkish composers have composed 68 flute pieces and 3 of these pieces were recorded. According to the results of the research it was determined that Ekrem Zeki Ün composed the piece called Yunus’un Mezarında (In the grave of Yunus) for the flute and piano; İlhan Usmanbaş composed the piece called Fl.-75 for the flute; Mete Sakpınar composed the piece called Hyper Flute for the electronic tape and the flute. In the end of piece analysis it is observed that in the 3 pieces; how the flute finding a wide sound range exists in both acoustic and electronic melodies, to this end how the Turkish composers reflect the different modal and rhythmic structure to the flute. In the end of the research results; it is suggested that the interests of the Turkish composers should be increased to enable them to composes more pieces related to the flute, to include them more frequently in concerts by way of the flute artists and trainers.


Flute, Flute Pieces With Recordings

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