KEMAN ÇALGISININ GELİŞİM SÜRECİ VE MÜZİK EĞİTİMİNDE KULLANILMA DURUMUNUN İNCELENMESİ.

Instruments reflect the characteristics of the societies they live in and their cultural heritage values. In this context, the horse and arrow-bow duo draws attention as the cultural heritage of Turkish culture. When the string instruments were researched in order to go down to the origins of the violin instrument, the ancient key of the Turkish hand; arrow and bow duo is reached. It is seen that the string instruments came to Anatolia from the Central Asian lands through the Nomadic Turks and then reached the European lands with the cultural sharing that took place during the silk Road trade. When the ıklığ instruments, which are the past of the violin instrument, are examined, according to the geographical regions in which they are shaped; It was determined that they showed differences in terms of form, structure and naming. Despite all these differences, it is seen that the first ancestor of string instruments in general and violin in particular was born in Central Asia. In this study, it is aimed to reach information about the process that reaches the formation phase of the violin instrument within the string instruments. While the primary purpose of the article was to prove that the origin of the violin instrument reached Turkish hands, its secondary purpose was to determine the playing techniques of the violin instrument in music education.In this context, when the origin of the violin is reached, it is noteworthy that the instrument's ancestors came to life through the Turkish hand of the Music World. As a result of the article, it was determined that String Instruments first started to form in Turkish communities in Central Asia. It is seen that the origin of string instruments was string instruments at the beginning, and the instrument that added long sounds to these string instruments was the arrow-bow instruments, which are the cornerstone of Turkish tradition. In the study, the existing techniques in the violin instrument in music education were also examined in order to contribute to the literature. [ABSTRACT FROM AUTHOR]