Uluslararası Toplumsal Bilimler Dergisi
Yazarlar: Ferhat ŞİMŞEK, Nesibe Özgül TURGAY
Konular:Beşeri Bilimler, Ortak Disiplinler
Anahtar Kelimeler:Nursal Ünsal,Izmir,Makam,Music,Violin-Player,Choir Conductor,Conzertmaster,Makam Singer
Özet: Nursal Ünsal was born in Erzurum on 12 March in 1939. The artist, who was originally from Aydın, began to meet music in Aydın Music Society. That her father name was “Kemani” and playing the violin in front of precious people such as Atatürk and Hasan Ferit Alnar influenced her to become a good violonist. Nursal Ünsal, having a difficult childhood, struggled with the difficulties of fatherless growth, lived a turbulent life in her marriages and private life. Nursal Ünsal had three children from her marriages. Firstly, she had familial and social problems to make her brothers accept her musician identity and accomplishments. Ünsal, who started to play violin at the age of 9, always took advices from her father about strong violin playing lie a man not a lady. Ünsal, who had a great names success in the exam in which theorie were great names suc as Ruşen Kam, Fahri Kopuz, Halil Bedii Yönetken, Mesut Cemil, Münir Nurettin Selçuk, Fahire Fersan, Refik Fersan, Nuri Halil Poyraz, Refik Ahmet Sevengil was accepted both as a violinist and a vocalist to Ankara Radio. She trained many artists and teachers to state choirs, universities and TRT Radio taught thousand of people who touched the spirit of İzmir and she was unique musican to be called as professor. She devoleped the violin playing tecniquie according to both western and maqam music and taught her own developed technique to her students. Nursal Ünsal, who was also very goos voice artist, used the information of singing when playing the violin, she stated that the only criterion for making a nice and clean sound from both the violin and body is power by listening violin bow to human body. Nursal Ünsal, who continued her musical Works not in composition field by in the field of sound an instrumantation, died in 2009. This article was written as a result of author’s personal interviews with her friends and family members who knew Nursal Ünsal closely and two months of research by the author and is is aimed to transfer information to the future about Nursal Ünsal who has not been studied extensively before and especially to be a resource for academicians and researchers working on women musicians.