Abstract
COMPUTER AIDED COMPARISON OF CLASSICAL TURKISH MUSIC WORKS COMPONENTED IN BÛSELİK MAKAM AND THEORETICAL INFORMATION ABOUT THIS MAKAM
In this study, the theoretical knowledge of the Bûselik makam and the sample works composed in the pre-Arel period were compared. In this way, it is aimed to compare similarities and differences between traditional usage and Arel theory. The study was limited to the compositions in the form of şarkı that were composed before the Republican Period and recorded in the TRT Turkish Art Music repertoire. 20 works containing these features were taken as samples. The sample works are examined in terms of makam elements such as makam scale, switch, strong/dominant fret, expansion of the scales, stays etc. The analyzes were carried out both traditionally and by means of Seyr-i MIDI analysis program and the results of the two analyzes were interpreted together. Finally, the data obtained from the analyzes are compared with the Arel theory and the non-overlapping points are expressed in the conclusion section.
Although the Bûselik makam was described as “simple makam” by Arel and the musicologists based on it, the information we obtained from the works shows that it has a more complex structure than the simple makams. Especially the Çargâh fret, which is the third degree of the scale, is the first or only dominant fret in most of the works and the fact that Çargâh and Nikrîz are frequently placed on this fret are among the main indicators of this.
Keywords
Classical Turkish Music, Hüseyin Sâdeddin Arel, Simple makams, Bûselik makam.
