Contents

CONTENTS
Previous Page Forew ord

List of Illustrations . . . . . . . . . . . . . . . . List of Sound Examples . . . . . . . . . . . . Foreword by Bruno Nettl . . . . . . . . . . . . Preface . . . . . . . . . . . . . . . . . . . . . . . . Conventions . . . . . . . . . . . . . . . . . . . . Guide to Pronunciation of Turkish Terms

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. . vii . . xi . xiv xvii . xxi xxii 1 2 4 6 10 10 13 16 20 21 22 22 23 26 31 33 37 48 50 60 66 67 68 77 82 96 109 113 121 125 . . . .

I. The Historical Context of Turkish Art Music . . . . . . . Historical Evolution of Turkish Notation . . . . . . . Current Repertoire in Historical Context . . . . . . Antecedents of Contemporary Theory . . . . . . . . II. The Classical Tradition in Contemporary Practice . . NonnClassical Genres . . . . . . . . . . . . . . . . . . . Performance in the Classical Genre . . . . . . . . . . Organizational Principles and Formal Structure . III. Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV. Intervalic Structure of Turkish Art Music . . . . . . . Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pitch Names . . . . . . . . . . . . . . . . . . . . . . . . . Tetrachords and Pentachords . . . . . . . . . . . . . Basic Scales . . . . . . . . . . . . . . . . . . . . . . . . Theory vs. Practice . . . . . . . . . . . . . . . . . . . . . V. Tonal Centers and Their Sequence . . . . . . . . . . . . Melodic Direction . . . . . . . . . . . . . . . . . . . . . . Seyir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI. Modulation Between Makamns . . . . . . . . . . . . . . Modulation within the Exposition . . . . . . . . . . Single Note Borrowing . . . . . . . . . . . . . . . . . . Passing Modulations . . . . . . . . . . . . . . . . . . . . Modulation in Formal Structure . . . . . . . . . . . . Compound Makamns . . . . . . . . . . . . . . . . . . . True Compound Makamns . . . . . . . . . . . . . . Modulation in Larger Forms . . . . . . . . . . . . . . . Krn 2 Nat2 k . . . . . . . . . . . . . . . . . . . . . . . . . . VII. Stereotyped Motives and Phrases . . . . . . . . . . . .

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VIII. Tessitura and Transposed Makamns . . . . . . . . 134 Transposed Fragments . . . . . . . . . . . . . . . . . . 134 Criteria for Distinguishing Transposed Makam-s 136 Tessitura . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Intervalic Structure . . . . . . . . . . . . . . . . . . . . 139 Melodic Direction . . . . . . . . . . . . . . . . . . . . . . 140 Characteristic Modulations . . . . . . . . . . . . . . . . 142 Stereotyped Melodies . . . . . . . . . . . . . . . . . . . 145 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Appendix A: Stroboconn Measurements of Selected Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Appendix B: List of Informants . . . . . . . . . . . . . . . . . 161 Appendix C: Notated Sources Appendix D: Discography . . . . . . . . . . . . . . . . . 163

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Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Plates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Illustrations vii

LIST OF ILLUSTRATIONS Example 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16a 17 18 19 20 21 22 23 24 25 26 Intervals of the ARGH scale . . . . . . page ACEMARAN scale . . . . . . . . . . . . . . . . RAST scale . . . . . . . . . . . . . . . . . . . . . . EHNAZ scale . . . . . . . . . . . . . . . . . . . . Use of key signature (RAST) . . . . . . . . . . Twentynfour pitches generated by cycle of fifths . . . . . . . . . . . . . . . . . . . . . . . . . . Basic tetrachords, pentachords with transpositions . . . . . . . . . . . . . . . . . . . . Other tetrachords and pentachords . . . . Thirteen basicmakam scales . . . . . . . . . Some basic scales, transposed . . . . . . . Fourth degree of SAB . . . . . . . . . . . . . . MAHUR, in theory and performance . . . . . Yekta vs. EzginArel notation systems . . . . Necdet Yaar's additional pitches . . . . . . . ARGH scales in theory and practice . . . Extension of SAB scale . . . . . . . . . . . . . Melodic direction of UAK . . . . . . . . . . . Melodic direction of BEYAT . . . . . . . . . . . Melodic direction of MUHAYYER . . . . . . . . Melodic direction of HSEYN . . . . . . . . . Origin of f# in HSEYN. MUHAYYER . . . . Lower limit of UAK . . . . . . . . . . . . . . . Lower limit of BEYAT . . . . . . . . . . . . . . . Upper limit of MUHAYYER . . . . . . . . . . . . Upper limit of HSEYN . . . . . . . . . . . . . . Seyir by Yekta: SAB . . . . . . . . . . . . . . . Seyir by Grmeri: SAB . . . . . . . . . . . . 24 25 25 25 26 27 32 33 34 36 38 39 40 41 43 44 52 53 55 56 58 59 59 60 60 62 63

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Makam: Modal Practice in Turkish Art Music

Example

27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57

Seyir by Yaar: SAB . . . . . . . . . . . . page Alteration of Evi in RAST . . . . . . . . . . . . Raised leading tone, PUSELK . . . . . . . . . Borrowed note in HCAZKR . . . . . . . . . . Borrowed note in SUZDL . . . . . . . . . . . . Borrowed note in RAST . . . . . . . . . . . . . . Raised leading tone to dominant in RAST . Raised leading tone to dominant in ACEMARAN . . . . . . . . . . . . . . . . . . . . ISFAHAN . . . . . . . . . . . . . . . . . . . . . . . SEGH, MSTEAR scales . . . . . . . . . . . . SEGH excerpt . . . . . . . . . . . . . . . . . . . MSTEAR excerpt . . . . . . . . . . . . . . . . . HZZAM scale . . . . . . . . . . . . . . . . . . . . HZZAM illustration . . . . . . . . . . . . . . . . HCAZ illustration . . . . . . . . . . . . . . . . . . HCAZnHMAYUN illustration . . . . . . . . . Passing modulation in BEYAT . . . . . . . . . Beginning modulation in BEYAT . . . . . . . Passing modulation in ACEMARAN . . . . . Meyan in ilhi form . . . . . . . . . . . . . . . . High register meyan . . . . . . . . . . . . . . . . Meyan in TAHR . . . . . . . . . . . . . . . . . . . Overlapping of TAHR, TZ SAB . . . . . . . Scales used in Ex. 52 . . . . . . . . . . . . . . . Makamns used in Ex. 52 . . . . . . . . . . . . . Evi Beste (complete) . . . . . . . . . . . . . . . Multiple meyanns in perev . . . . . . . . . Successively higher hanens in perev . . . Makam sequence in a saz semaisi . . . . . . Scale of nKRD ending . . . . . . . . . . . . . ACEMnKRD illustration . . . . . . . . . . . .

64 67 69 70 71 72 73 73 74 75 75 76 76 77 78 79 80 81 81 83 84 85 86 87 87 90 93 95 97 98 99

Illustrations ix

Example

58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89

Brief nKRD ending . . . . . . . . . . . ARABAN scale . . . . . . . . . . . . . . . . ARABANnKRD illustration . . . . . . . KRD tetrachord on G . . . . . . . . . . KRDLnHCAZKR, first version . . KRD scale on G . . . . . . . . . . . . . . ARAZBAR scale . . . . . . . . . . . . . . . KRDLnHCAZKR, second version HCAZnonne . . . . . . . . . . . . . . . . . HSARnPUSELK illustration . . . . . . . RUYn IRAK scales . . . . . . . . . . . . . RAHATnL ERVAH scales . . . . . . . . BESTEnNGR scales . . . . . . . . . . . BESTEnNGR illustration . . . . . . . . HSEYNnARAN scales . . . . . . . . PUSELKnARAN scales . . . . . . . . . BEYATnARABAN illustration . . . . . . MYE illustration . . . . . . . . . . . . . . NHAVENDn KEBR scales . . . . . . . NHAVENDn KEBR illustration . . . . ETARABAN scales . . . . . . . . . . . . . ETARABAN illustration . . . . . . . . . FERAHFEZA scales . . . . . . . . . . . . . Transitional taksim . . . . . . . . . . . . . Meyan structure in yin stanza . . . . Krn2 Nat2k excerpt . . . . . . . . . . . . Stereotyped motive (SAB) . . . . . . Stereotyped motive (ACEMARAN) . Stereotyped motive (HSEYN) . . . . Stereotyped motive (SEGH) . . . . . Stereotyped motive (RAST) . . . . . . Stereotyped motive (MAHUR) . . . . .

page 100 . . . . 101 . . . . 101 . . . . 102 . . . . 102 . . . . 103 . . . . 103 . . . . 104 . . . . 106 . . . . 106 . . . . 107 . . . . 107 . . . . 107 . . . . 108 . . . . 108 . . . . 108 . . . . 110 . . . . 111 . . . . 112 . . . . 112 . . . . 112 . . . . 113 . . . . 116 . . . . 117 . . . . 119 . . . . 122 . . . . 127 . . . . 127 . . . . 127 . . . . 127 . . . . 127 . . . . 127

Makam: Modal Practice in Turkish Art Music

Example

90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114

Stereotyped SEGH cadence, I . . . . Page 129 Stereotyped SEGH cadence, II . . . . . . . 130 Gypsy HCAZ phrase . . . . . . . . . . . . . . 130 EHNAZ motive . . . . . . . . . . . . . . . . . . . 130 ISFAHAN motive . . . . . . . . . . . . . . . . . . 131 KARCIAR motive . . . . . . . . . . . . . . . . . 131 Personal phrase by Kutbay (SAB) . . . . . 132 Personal phrase by Cemil (SAB) . . . . . . . 133 Personal phrase by Yaar HCAZ . . . . . . . 133 Personal phrase by Say2n (BEYAT) . . . . . 133 Transposed fragment, SAB . . . . . . . . . . 135 DGH scales . . . . . . . . . . . . . . . . . . . . 136 DGH illustration . . . . . . . . . . . . . . . . . 136 Illustration of low tessitura . . . . . . . . . . . 138 Illustration of medium tessitura . . . . . . . . 138 Altered intervals . . . . . . . . . . . . . . . . . . 140 RAST scale . . . . . . . . . . . . . . . . . . . . . . 140 NABUREK scale . . . . . . . . . . . . . . . . . . 140 RAST melodic line . . . . . . . . . . . . . . . . . 141 NABUREK melodic line . . . . . . . . . . . . . 141 ZRGLELnHCAZ and its transpositions 143 Characteristic modulation, SUZDL . . . . . 144 Characteristic modulation, EVCR . . . . . 145 EHNAZ seyir, transposed down one whole step . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 HCAZKR seyir . . . . . . . . . . . . . . . . . . . 148 Theoretical intervals and their values . . . . 23 Pitch names, two octaves . . . . . . . . . . . . 28 Notation of pitches, two octaves . . . . . . . 29 Tanbur neck fretted for 24 note octave . . . 30

Table I II III Figure 1

Sound Illustrations

xi

SOUND ILLUSTRATIONS Alphabetical Order BEYAT gazel (el-Gazi) Rounder 1111 Track 19 . . . . . . . . . . . . . . . 53 BEYAT-ARABAN taksim (Tanburi Cemil Bey) Rounder 1051 track 19 . . . . . . . . . . . . . . . . 110 HCAZ gazel (Nafi Bey) Rounder 1051 track 5 . . . . . . . . . . . . . . . . . . 35 HSEYN taksim (Sadi I2lay) Rounder 1140 track 2 . . . . . . . . . . . . . . . . 57

+
+ + + + + + + +

HZZAM saz semaisi (Refik & Fahire Fersan) Rounder 1140 track 12 . . . . . . . . . . . . . . . . . 74 MUHAYYER rubai (Mnir Nurettin Seluk) Rounder 1111 track 12 . . . . . . . . . . . . . . . . . 55 RAST taksim (kr Tunar) Rounder 1111 track 23 . . . . . . . . . . . . . . . . 127 SAB taksim (Nubar Tekyay) Rounder 1051 track 17 . . . . . . . . . . . . . . . . . 62 SEGAH gazel (Haf2z Kemal) Rounder 1111 track 22 . . . . . . . . . . . . . . . . 129 UAK iftetelli (Osman Ef.) Rounder 1140 track 18 . . . . . . . . . . . . . . . . 37

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TURKISH PRONUNCIATION SOUND CLIPS Alphabetical Order Blue = X acem acem airn arabn arazbr Arel, Sadettin -ARAN Atl, Nevzat ayak yin bayati beste sfahn BESTENGR Can, Halil rgh dike ehnaz dike zirgle Dilhayat Han2m dgh edvr Ergin, Doan Erguner, Ulvi Esat Efendi evcr evi ezn fasl ferahfez ferahnk Gazi Giray Han gei taksimi giri gl Grmeri, efik Hac Arif Bey Hafz Bekir Stk Sezgin Hafz Post Hamparsum Limonciyan Heper, Sadettin hicz hicz hmayun hicazkr HCAZKR KRD HSAR PUSELK hmyn hseyni hzzm ilhi rak 2sfahn Istanbul Conservatory Kantemirolu kapal Nev kr Karaca, Hafz Kni Karadeniz, Ekrem karr karcar kr-2 ntk Kaynak, Sadettin krdi krdilihicazkr Kutbay, Akagndz mahur makm mye mecmua-i saz sz

Pronunciation Sound Clips

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Pronunciation Meragi Abdlkadir Mesut Cemil Mevln mevlevi mevlit meyan miraciye muhayyer Muhayyer-Krdi Musiki Mecmuas mstear muvakkat nat-2 Mevlna nev nihvend-i kebir nihvent nikriz nim evi NABUREK niyz ilhisi Oransay, Gltekin pengh perev puselik rhat-l ervh rst RUY- IRAK sab salt ark2 Sayn, Niyazi saz semisi segh ehnaz selm

Seluk, Mnir Nurettin Selim, Sultan semai etaraban evkefz eyh-ul islam Esat Efendi seyir son perev uul sultani yegh szidil szink tahir taksim tanbur Tanburi Cemil Bey Tanbur sak Tanbur Necdet Yaar terennm teslim tiz durak tiz sab Trk Klsik Mzii Korosu Ufki, Ali uk usul Uzdilek, Salih Murat uzzal Yavaa, Alettin yeden Yekta, Rauf Zaharya zemin zemzeme zengle zirgleli hicaz

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