HALK MÛSİKÎSİ REPERTUAR İNCELEMELERİNİN MAKAM NAZARİYESİ ARAŞTIRMALARINA YAPABİLECEĞİ KATKILAR

Abstract

The repertory of Anatolian folk music has not yet been subjected to extensivestudies in terms of various makam theories. The field of the history of makamtheory, however, shows a remarkable diversity in terms of approaches and methodsused by different theoretical models. In this article, by utilizing the approach of“Theoretical Models” developed by Öztürk (2014b), the various “modes of melodicmotion” seen in the repertory of Anatolian folk music are compared with thedescriptions in two historical models, namely “Esoteric Symbolism-based Model”(ESM) and “Compositional Direction-based Model” (CDM). In both of the “melodyoriented”historical models chosen for comparisons here, the description of thetypical melodies are made by specifying the basic reference points of the motion[e.g. the beginning point (“âgâz”), the orientation style (“seyir”), the ending point(“karar”)]. It is seen that the models use the traditional note names as a method to denote all these reference points. As a result of the comparisons, it has been foundthat the folk music examples are in full compliance with the descriptions of bothhistorical models. Based on this study, it has been proven that the repertory ofAnatolian folk music has a lot of potential to be a very productive area for newresearches related to the concept of makam in the historical and theoreticalcontexts.