Araştırmanın amacı, Türk halk müziği uzun hava türlerinden biri olan Bozlakların bağlama çalgısı ile geleneksel çalınış biçimlerini ve müzikal karakteristiklerini yöre sanatçılarının icralarına ait ses kayıtlarından yola çıkarak analiz etmek, bozlakların bağlama çalgısı ile icralarında geleneksel özelliklerine en yakın biçimde seslendirilmesine yönelik bir öğretim modeli geliştirmek ve uygulamadaki etkinlik düzeyini ortaya koymaktır. Bu amacı gerçekleştirmek için ilk olarak, çalışma grubunun uygulamalar öncesi bozlak çalma düzeyleri, uzman değerlendirmeleri ile ortaya konulmuş ve bu değerlendirmeler neticesinde bozlakları geleneksel biçimde ve müzikal karakteristiğine uygun şekilde yeterli düzeyde icra edemedikleri tespit edilmiştir. Daha sonra, örneklem olarak seçilen bozlakları, geleneksel biçimlerine uygun olarak çalmaya yönelik bir öğretim modeli geliştirilmiştir. Bu model çalışma grubuna uygulanmış ve uygulamalar sonrasında öğrencilerin bozlak çalma düzeyleri tekrar uzman değerlendirmesine sunulmuştur. Çalışma grubunun, araştırma sürecinde gerçekleştirilen uygulama çalışmaları öncesi karşılaştırıldığında, anlamlı düzeyde olumlu gelişme sağladıkları sonucuna ulaşılmıştır. Örneklem olarak Orta Anadolu bölgesine ait iki adet Bozlak seçilmiştir. Bu araştırmada hem betimsel hem de deneysel yöntem kullanılmıştır. Araştırmanın betimsel boyutunda, araştırma sürecinde öğretilmesi hedeflenen "Bozlaklar" konusu ile ilgili ulaşılabilen ses kayıtları analiz edilerek, bozlakların müzikal karakteristikleri ve yöresel tavırları tespit edilmiştir. Araştırmanın deneysel boyutunda, bozlakların öğretimine yönelik alıştırma modelleri oluşturulmuş ve uzman görüşü alınarak eksik ve geliştirilmesi önerilen boyutlar üzerinde değişiklikler yapılmıştır. Alıştırmalar hazırlandıktan sonra 6 haftalık öğretim modeli planlanmış ve uygulanmıştır. Araştırmada, deneysel boyutun ön test-son test verilerini elde etmek için uzman görüşleri alınarak bir performans değerlendirme ölçeği geliştirilmiştir. Deneysel boyutta, tek gruplu ön test-son test deseni kullanılmıştır. Hazırlanan öğretim modeline dayalı olarak gerçekleştirilen 6 haftalık uygulama çalışmaları sonrası, ön test-son test puan farklılıkları karşılaştırılmıştır. Elde edilen veriler, "Bağımlı Örneklemler T Testi" kullanılarak SPSS 24 programı aracılığıyla analiz edilmiştir. Ayrıca, deneysel işlem sonrasında çalışma grubu öğrencilerinin yapılan çalışmalarla ilgili görüşleri alınmıştır. Ön test ve son test aşamasında uzmanların gerçekleştirdikleri puanlamalar arası uyum (korelasyon) katsayıları "Kendall's W" formülü ile hesaplanmıştır. Deneysel uygulama süreci sonunda öğrencilerin ön test ve son test puanları arasında önemli düzeyde olumlu yönde farklılık olduğu tespit edilmiştir. Bu sonuçlar, uygulama süreci sonrası öğrencilerle yapılan görüşme formlarında yer alan ifadelerden elde edilen verilerle de tutarlılık göstermektedir

The aim of this research is to study the traditional forms of performance and musical characteristics of “Bozlak’s” (kind of Turkish folk song which lacks a set rhytmic pattern) by studying the records and performance of the local poets with “Bağlama” (Turkish traditional folk music instrument); also to develop an educational method for the performance of the Bozlak’s with bağlama in harmony with traditional ways and to show the effectiveness of this performance in practice. For this purpose first of all, the level of the performance of the Bozlak’s by the study group before the practice is determined by the evaluation of experts and according to this evaluation it becomes clear that the study group can not perform the Bozlak’s in accordance with traditional forms and musical charasteristic features. Then a method was developed to perform the selected Bozlak’s in accordance with traditional forms. This method was practiced by study group and the level of performance of Bozlak was again evaluated by experts after this application. It was concluded that when the level of performance of the Bozlak’s before and after practice of this method compared there was a remarkable progress in their performance.The selected Bozlak’s were from inner-Anatolia. İn this study both descriptive and experimental method were used. In the descriptive side of the research, the records of the reached Bozlak’s which were chosen for study were analyzed and the musical characteristics and local traits of these Bozlak’s were determined.In the experimental side of this study, models of exercising concerning the teaching of “Bozlak’s” were developed and under the advisorship of the experts changes were made to improve the inadequate and undeveloped aspects of these models.After the preparation of the exercises a term of teaching for six weeks was planned and practiced.In this study, to reach the data about the experimental side of the study before and after the practice of the test a scale of evaluation was developed under the advice of experts.In the experimental side, a pattern of pre-test and post-test with a single group was used.The difference between the points before and after the practice of the test were compared after the execution of educational programme which lasted six weeks.The reached data was analyzed by SPSS 24 programme by using “Paired-Samples T Test”.In addition to this, after experimental study, the opinions of the students taking part in the study groups were applied.The correlation between the points reached by experts after the examination of the results before and after the practice of the test, was calculated by the formula of “Kendall W”.It was certain that there was a positive progress in the measured points reached by students before and after the practice of the test.This conclusion coincides with the comments of the students included in the interview forms which were filled out by students after the study The works belonging to Turkish folk music vary from each other in terms of their verbal or non-verbal character, their rhythmic structure, the musical character of their original region and their melodic structures.When we study about the classification of the Turkish folk music, we meet with two subtitles; the first known as "Kırık Hava" and the second as "Uzun Hava". “Kırık Hava”(rhytmic song) can be defined as a Turkish folk song which has a definite measure, rhythm and form and which includes dancing and drama music. "Uzun Hava”(free style folk song) is a folk song which is patterned on free measure and traditional oral performance and they are called as Bozlak, Barak, Maya, Hoyrat, Gurbet etc., according to their original region.Although "Uzun Hava” is sometimes defined as measureless and non-rhythmic; it can be said that it is a more accurate approach to define them as 'free rhythmic' works, depending on their double or triple pattern of performance irregularly. İn 1962, the founder and conductor of “TRT Yurttan Sesler” chorus, the folkloric searcher Muzaffer Sarısözen defines “Uzun Hava” as follows: " The songs whose sequence(mod) and progress in sequence can be discerned although it’s free performance in terms of measure and rhythm are called as “Uzun Hava” (Sarısözen, 1962, p.4). When we study definitions about “Uzun Hava”, it is possible to ascertain such common statements like their own unique progress, their performance according to certain patterns, their performance by free measure and use of improvisation in their performance. Uzun hava which exists in the musical culture of Turkoman’s living in Central and South Anatolia (Turkoman’s living in Taurus Montains) is called as Bozlak. Regarding the sources about the etymological origin of the word “Bozlak”, it is assumed that it comes from the word “Bozulamak” which is derived from the camel sound.The word, “Bozulamak” also means wailing and crying. The Bozlak’s are musical forms which express the sufferings, weakness and heroism of the Turkoman tribes due to social crises, clashing with other tribes and the problems of adaptation to new environments as a result of their migration from central Asia to Anatolia. Many compilations and notating including the Bozlak’s have been made and many researchers have reported that the Bozlak’s have a rich and unique modal sequence due to joining of different modal sequences in addition to their definite certain modal sequences like many Turkish folk songs belonging to Turkish folk music repertoire. The Bozlak’s musical series which are so rich as can not be only defined by majörminör and modal sequences have been studied in detail in this research. The aim of this research is to study the traditional forms of performance and musical characteristics of “Bozlak’s” (kind of Turkish folk song which lacks a set rhytmic pattern) by studying the records and performance of the local poets with “Bağlama” (Turkish traditional folk music instrument); also to develop an educational method for the performance of the Bozlak’s with bağlama in harmony with traditional ways and to show the effectiveness of this performance in practice. The songs "Kalkti Göç Eyledi Avsar Elleri" whose composer and tradition bearer is Muharrem Ertaş and "Sarı Yazma Yakışmaz mı Güzele" whose composer and tradition bearer is Çekiç Ali (Ali Ersan) were chosen. These songs originally belongs to İnner-Anatolia region. Examples of intervals, ornaments, alterations and progressive features of Bozlak’s which were determined due to their musical analysis were designed according to quadruple measurement instead of traditional vocalization. In this study both qualitative research methods and experimental method were used. In the qualitative side of the research, the records of the reached Bozlak’s which were chosen for study were analyzed and the musical characteristics and local traits of these Bozlak’s were determined. In the experimental side of this study, models of exercising concerning the teaching of “Bozlak’s” were developed and under the advisorship of the experts changes were made to improve the inadequate and undeveloped aspects of these models. After the preparation of the exercises a term of teaching for six weeks was planned and practiced. In this study, to reach the data about the experimental side of the study before and after the practice of the test a scale of evaluation was developed under the advice of experts. In the experimental side, a pattern of pre-test and post-test with a single group was used. Conclusion and Recommendations Bozlak’s have one or one-half octave register and generally verbal part starts in the eight, eleventh or twelfth degree. Bozlak songs have different musical charasteristics, from each other. Bozlak songs start with high-pitched voices and gradually finish with final resolution tone (tonic degree). The difference between the points before and after the practice of the test were compared after the execution of educational programme which lasted six weeks. The reached data was analyzed by SPSS 24 programme by using “Paired-Samples T Test”. It was certain that there was a positive progress in the measured points reached by students before and after the practice of the test.(Test Result: t value -8,498, Sig. (2-tailed) 0,014) This conclusion coincides with the comments of the students included in the interview forms which were filled out by students after the study. In addition to this, after experimental study, the opinions of the students taking part in the study groups were applied. The correlation between the points reached by experts after the examination of the results before and after the practice of the test, was calculated by the formula of “Kendall W”. İn the result, defined positive correlation between experts evaluation. The applied training model be able to achieve positive gains for other free style Turkish folk music song forms teaching, too