An examination of the work sample “Bî Vefâ Bir Çeşm-i Bidâd” vocalized by Lale and Nerkis Hanımlar in terms of performance features

Examination of the work sample “Bî Vefâ Bir Çeşm-i Bidâd”


  • Tuba Barutcu Tuba
  • Emel Funda Türkmen


The meşk method, which is included in the Classical Turkish Music tradition, which is an important heritage of Turkish culture, has always had a very important place in the process until the adoption and spread of the use of notes. Performance features, which are effective in the formation of performance, were shaped and developed through meşk and differed in the direction of each performer's assimilation and creation of works. Today, the importance of meşk is still mentioned, and every performer accepts the use of notes only as a tool that guides them. In this sense, the performer tries to create their own characteristic performance features and technique by going beyond the note of the work. In this study, it is aimed to determine the characteristic performance features of Lale and Nerkis Hanımlar, students of Udi Nevres Bey, who are among the first female vocal performers whose voices were recorded on gramophone records and who represent a period when sound recording technologies started to develop. The research is important in terms of revealing their artistic aspects and not doing enough studies on their performance features. In the research in which document analysis was used, the work of Hammamizade İsmail Dede Efendi named “Bi vefâ bir çeşm-i bidâd” performed by Lale and Nerkis Hanımlar constitutes the sample of the research. In the research carried out in accordance with the qualitative research design, the work, which was notated as Lale and Nerkis Hanımlar performed, was analysed by comparing it with the note sample in the TRT (Turkish Radio and Television) repertoire, and as a result of this analysis, the ornamental elements and expression nuances used during the performance were revealed.