From tradition to future: Performance and makam analysis of Fahrettin Çimenli’s Hüseyni makam bowed tanbur taksim

In the tradition of Turkish music performance, taksim is a multifaceted practice that transcends mere theoretical knowledge. It is shaped by aesthetic criteria, emotional expression, and improvisational ability, all of which reflect the instrumentalist’s technical proficiency and mastery of makam structure. Within this context, the bowed tanbur—an instrument pioneered and developed by Tanburi Cemil Bey—has evolved through the innovative contributions and performance style of Fahrettin Çimenli, contributing to the preservation of the institutional memory of Turkish music and its transmission to future generations. Çimenli is recognized as one of the foremost representatives of this tradition, distinguished by his virtuosity in both plucked and bowed tanbur performance. The primary objective of this research is to examine the structural, modal, and technical dimensions of bowed tanbur performance by tracing its development from Tanburi Cemil Bey to the performance style of Fahrettin Çimenli through an analysis of his 2 min 7 s Hüseyni makam taksim recording available in the digital environment on YouTube. This study examines Çimenli’s performance style within a scientific framework, emphasizing the synthesis of the traditional meşk system and instrumental technique. Furthermore, it provides a model for performance analysis and a methodological reference for performers and researchers. The research employs descriptive and content analysis, both of which are qualitative research methods. The Hüseyni makam bowed tanbur taksim recording was transcribed into notation, and the collected data were categorized and evaluated under three main dimensions: structural analysis, modal analysis, and performance technique analysis. The findings reveal that the taksim consists of three main sections: Introduction, Development, and Conclusion. A quantitative analysis of the ornamentation techniques used throughout the performance indicates that these techniques were applied in a balanced manner to enhance melodic continuity and expressive richness, while techniques such as puandorg, sequence, and vakfe were strategically employed at critical moments to increase emotional intensity. This study demonstrates traditional Turkish music performance through Fahrettin Çimenli’s Hüseyni makam taksim as a case study. It also provides an analytical perspective on bowed tanbur performance and contributes to Turkish music pedagogy.