İdil Sanat ve Dil Dergisi
Cilt 11, Sayı 92  2022/4  (ISSN: 2146-9903, E-ISSN: 2147-3056)
Atalay DURMAZ, Turan SAĞER

NO Makale Adı

Ornaments are one of the most important features of Turkish Music. The ornaments, which enable the melodies to be expressed more effectively in music, escalate the works to another dimension and add a different color to the music. The ornaments vary according to the instrument played by the performer, the transposed sound field he/she performs, the instrument he/she accompanies, if any, the period in which the piece was composed, its mode, form, the technical capacity of the performer and the musical aesthetics of the performer. In Turkish Music, ornaments are not specified on the note, but left to the performer. Each and every one of the ornaments used in Turkish Music, which is personal, unwritten, which we can only reach from audio sources, is implicit knowledge. The knowledge that is called implicit knowledge in knowledge management is defined as knowledge that takes place in the human brain with experiences, intuitions, comparisons and is not disclosed. These ornaments, which the performer improvises with his/her experience and experience, are considered implicit knowledge. Since students learn by imitating while learning the ornaments, the teacher does not have any concerns about transforming this information into explicit knowledge. In this study, Tatyos Efendi's Kürdîlihicâzkar Saz Semai, performed by Cevdet Çağla, has been examined as an example of the implicit knowledge in Turkish Music. For this purpose, the sound recordings of the work were accessed, dictation and notation were carried out. The implicit knowledge used in the performance of the work has been determined.

Keywords: Implicit knowledge, ornament, Cevdet Çağla