| dc.identifier.citation | Aragon Luna, J. C. (1992) Atardecer Guarani [Yayımlanmamış el yazısı]. Ahmet Kanneci
arşivi, Ankara.
Cardoso, J. (1989). Thema de Ahmet [Yayımlanmamış el yazısı]. Ahmet Kanneci arşivi,
Ankara.
Cherubito, M. A. (1994). Tres Piezzas Argentinas: Sombras, Lejanias, Recuerdos
[Yayımlanmamış el yazısı]. Ahmet Kanneci arşivi, Ankara.
Cuenca, F. (1986). La Isla Encantada [Yayımlanmamış el yazısı]. Ahmet Kanneci arşivi,
Ankara.
Cuenca, F. (1996-1997). Suenos Nocturnos: El Valle De Las Amapolas, Presencias, El
Fantasma, La Pesadilla, Aves En La Oscuridad, El Pequeno Angel, El Halcon
[Yayımlanmamış el yazısı]. Ahmet Kanneci arşivi, Ankara.
Çalışır, F. (1999). Müzik Dili Sözlüğü. Ankara: Ataçağ Sanatevi Yayınları
Grinnell College Musical Instrument Collection. Erişim: 16.03.2023. https://omekas.grinnell.edu/s/MusicalInstruments/item/1811
Hoshino, M. (2001) 19 Pieces Album for Guitar Solo. Madrid: Soneto Ediciones Musicales.
Kanneci, A. (2001). Gitar İçin Beste Yapmış Türk Bestecilerinin Eğitimi ve Yapıtlarının
Uluslararası Gitar Repertuarındaki Yeri. Yüksek Lisans Tezi, Gazi Üniversitesi, Ankara.
Kanneci, A. (2017). Kanneci Meslekte 40. Yılını Kutluyor. Ankara / Türk-Amerikan Derneği
Emin Hekimgil Sanat Galerisi.
Lute Society Of America. Erişim: 15.03.2023.
https://lutesocietyofamerica.org/about/instruments/vihuela/
52
Ortiz, F. (1990). Ahmet’s Temha [Yayımlanmamış el yazısı]. Ahmet Kanneci arşivi, Ankara.
Padro, C. (1995) Preludio No. 3. Buenos Aires: Tempo Publicaciones Musicales.
Remnant, M. (1989). Musical Instruments An Illustrated History: from Antiquity to the
Present. London: B. T. Batsford Ltd, s. 33.
Say, A. (1997). Müzik Tarihi. Ankara: Müzik Ansiklopedisi Yayınları.
Shahidi, T. (2001). Gitar Konçertosu: 1., 2., 3. Bölüm [Yayımlanmamış el yazısı]. Ahmet
Kanneci arşivi, Ankara.
Szelepcsenyi, J. (1988) Preludium I [Yayımlanmamış el yazısı]. Ahmet Kanneci arşivi,
Ankara.
Terashima, H. (2001). Souvenirs d’enfance Pour guitarre: Natsumatsuri, Tooryanse. Ahmet
Kanneci arşivi, Ankara.
Tyler, J. (1980). Early Music Series: 4: The Early Guitar: A History and Handbook, London:
Oxford University Press, s. 35, 37, 38, 46, 63, 64, 65, 66, 67, 74.
Wade, G. (2001). A Concise History of the Classic Guitar. Pacific, MO, ABD: Mel Bay
Publications, s. 20, 21, 25, 26, 27, 120, 123.
Wade, G. , Garno, G. (1997). A New Look at Segovia His Life & His Music, Volume One.
Pacific, MO, ABD: Mel Bay Publications.
Walker, T. (2000) Study of the 13th. London: Timothy Walker.
Wikipedia (2015). Guitarra Antonio de Torres, Erişim: 20.05.2023.
https://commons.wikimedia.org/wiki/File:Guitarra_d%27Antonio_de_Torres,_MDMB_62
6,_al_Museu_de_la_M%C3%BAsica_de_Barcelona.jpg
53
Wikipedia, (2010). Jean-Nicolas Grobert- Early Romantic Guitar. Erişim: 15.02.2023.
https://commons.wikimedia.org/wiki/File:Jean-Nicolas_Grobert_-
_Early_Romantic_Guitar,_Paris_around_1830.jpg | tr_TR |
| dc.description.abstract | In this study, the process of composing dedicated work and details of the relationship between composer and performer is discussed. Specifically, the relationship between our country guitarist Ahmet Kanneci and other country composers is addressed. The works composing process, composer-performer connection, edition, and recording condition are revealed as a result of face-to-face conversation with the guitarist.
In the introduction part of the study, information about how the guitar instrument and its repertoire have come from history to the present is given. As a result of the relationships established by contemporary guitarists, who attracted the attention of well-known composers, some information about their contributions to the guitar repertoire and the works dedicated to them are presented. The problem situation of the study is indicated in the first section of the research, which present Ahmet Kanneci’s artistic life and his contribution to the guitar music of our country, his national and international works, and how he supports his performance with other branches of art. In the second part, the method section of the study, information on how to access the documents and data related to the works dedicated to Ahmet Kanneci between the years 1986-2001 is given. In the findings and comments section, as a result of personal conversations with Kanneci, the details of the dedicated works in the direction of the documents and data obtained from his sources were reached and examined under the sub-problem titles. In the conclusion section, suggestions have been made as a result of the findings and comments, which are thought to be guiding for the next generation guitarists, people and institutions that teach guitar. | tr_TR |
