Author(s): Bilen IÅIKTAÅ
The musical meaning of the instrument “oud” will be strengthened when the subject of the oud performance is evaluated through processes changing by eras, the spirit of time, and social and historical conditions. In each period, the actors of the art area are referred to as performer-composers, educators and as the centuries change, they transfer their knowledge with a reform, with a stylistic change and with a new aesthetic design. They keep the creations of common sound even if the historical components belong to different geographies. The producers of art who integrate theory to performance to explain their own musical and cultural values through the instrument “oud” reflect their experiences. The oud, as one of the most important ancient instruments used in Central Asia, the Middle East, North Africa and the Ottoman Empire for hundreds of years, made its appearance in historical scene when the production of written sources started. In this study which deals with the past and current use of the oud through descriptive and historical methods, the musical evolution of the instrument has been pursued by examining the musical process from its earliest period known to the present. It also gives an opportunity to get a general perspective about the past and present day of the oud as well as the key issues from theory to performance, how it was used as tool of succession and who were the pioneers in this and in which books the oud took place and how it showed selfexpression and permanence.
The Journal of International Social Research received 8982 citations as per Google Scholar report
