GELENEKSEL TÜRK SANAT MÜZİĞİNDE MAKAM GEÇKİLERİ

Özet

Geçmişten günümüze gelen makam ve usul zenginlikleriyle Türk Müziği,

Abstract

Turkish music has taken its place in the World music thanks to its richness ofmodal music and the rhythm which came from the past to present day. Thepitch system, which has been utilized in Turkish Music has further increasedthe modal liveliness. Considering the fact that 628 modes have been createdin Turkish music, it would not be wrong to discuss about an enriched form,which has constantly been developing between the past and the future. Inaddition to the abundance of the modes, the variety of tempo styles rangingfrom 2 to 128 intervals adds a distinctive richness to traditional Turkishmusic. For a mode to exists and be used by performers, many verbal andinstrumental works must be composed, as well as a sequence of compositions.The composers have composed works approximately in 100 modes and havepreferred to compose certain modes instead of the recently created ones. Inthe same work, however; they used the late technique and many of the sameauthorities at the same time. Most of the modes, which have not beenexercised in terms of repertoire, or have been composed scarcely any, hasfallen into oblivion. It is known and practiced by traditional musicalperformers that the tradition of intermodulation takes an important placeregarding performance. In addition to spontaneous compositions suchas taksim, na't, kaside and gazel, modulation among modes has been used inmost of the verbal and instrumental genres of traditional Turkish music.However, the absence of written sources other than a few short texts withregard to the teaching of modulation constitutes the problematic part of ourarticle. When the sources of Turkish music have been examined, it isunderstood once again that how much that issue has beenneglected. Composers have frequently used modulations intheir compositions to enhance their melodic liveliness and show their talentsas well. That tradition has reached the peak, especially in the form of karınatık as can be seen at Ahmet Avni Konuk’s “Rast Kar-Natık (Fihrist-Makamat)” with 119 different modes in it. The issue of modulation has alsobeen common among composers as well as instrumentalists. Especially in theform of taksim, modulation has been utilized widespread. Improvisations andmodulations during the intervals of suites, have the utmost importance inTurkish Music. The instrumentalists have demonstrated their skills by usingimprovisation by using modulation, while vocalists have demonstrated theirabilities by using freely performed genres such as gazel, kaside, na’t byutilizing modulation. This tradition continues today, although it has been lesswhen compared to the past.