Melodic Progression and Pitch in the Rast Makam in the Light of the Theoretical Sources and Works of Turkish Music

Mustafa Süha Çubukcu

Article Details

Melodic Progression and Pitch in the Rast Makam in the Light of the Theoretical Sources and Works of Turkish Music

Authors:

Mustafa Süha Çubukcu

Publisher:

Necmettin Erbakan University

Main Topics:

Türk Sanat Müziğinde Yorumculuk

Journal:

İSTEM Issue 45, pp.271-294

Document Type:

Article

Publication Date:

6/2025

Document Language:

Turkish

Document ID (Org No.):

2001353663

pISSN:

1304-0618

Keywords:

Abstract:

 Turkish music is a refined art form that has developed on the foundations of makam, usul, and lyrics. It has adhered to traditional forms shaped over centuries and has particularly evolved and gained distinct characteristics during the Selcuk and Ottoman periods. In the continuous transfer of this tradition that has been ongoing for centuries, various differentiations such as education, training and theory are seen. In Turkish music, al-Kindi formed its nucleus and Urmavi developed and formed according to a decisive order, it was called the Systematic School in the theoretical view, and from this period on, continuous changes and developments were seen in makam expressions, structures and definitions. In this study, the change and development process in question is discussed chronologically; The study was examined on the axis of the Rast makam with sample work analyses. Rast makam, whose place in Turkish music works was frequently favored by ancient composers and performers, was described in Seydis work el-Matla as Ümmül Makâmât, meaning mother of makams. In this vein, it is possible that many makams in Turkish music were born andor derived from Rast makam. Rast makam began to be used as the main makam and main scale in the 15th century and was the first makam that was the subject of many works and was treated in meşk teachings. Along with the changes and diversifications of theoretical systems and views that emerged in the following period, some differentiations occurred in Rast makam as in many other makams. It is obvious that the changes and variations mentioned above affected both the compositional structures and theoretical expressions regarding the Rast makam. In the study, which was created on the axis of qualitative research methods, scanningsurvey, document review and classification techniques were used. Content analysis and interpretations were made in the light of the data obtained. As a result of the research on the works of various theorists who lived in different periods, examples were given about the historical process of the Rast makam in theoretical and practical contexts and the melodic progression and pitch structure in this process. In this way, data about the tradition and the change process of Rast makam, which is important for Turkish music, were revealed. As a result of the study, the parallelism of Turkish music theory with performance based on the Rast maqam was revealed, and it was stated that a school that can be defined as the maqam-sayi school was formed and that it would be more consistent to use this school in education and training as a requirement of the processes of training qualified performers.

 Turkish music is a refined art form that has developed on the foundations of makam, usul, and lyrics. It has adhered to traditional forms shaped over centuries and has particularly evolved and gained distinct characteristics during the Selcuk and Ottoman periods. In the continuous transfer of this tradition that has been ongoing for centuries, various differentiations such as education, training and theory are seen. In Turkish music, al-Kindi formed its nucleus and Urmavi developed and formed according to a decisive order, it was called the Systematic School in the theoretical view, and from this period on, continuous changes and developments were seen in makam expressions, structures and definitions. In this study, the change and development process in question is discussed chronologically; The study was examined on the axis of the Rast makam with sample work analyses. Rast makam, whose place in Turkish music works was frequently favored by ancient composers and performers, was described in Seydis work el-Matla as Ümmül Makâmât, meaning mother of makams. In this vein, it is possible that many makams in Turkish music were born andor derived from Rast makam. Rast makam began to be used as the main makam and main scale in the 15th century and was the first makam that was the subject of many works and was treated in meşk teachings. Along with the changes and diversifications of theoretical systems and views that emerged in the following period, some differentiations occurred in Rast makam as in many other makams. It is obvious that the changes and variations mentioned above affected both the compositional structures and theoretical expressions regarding the Rast makam. In the study, which was created on the axis of qualitative research methods, scanningsurvey, document review and classification techniques were used. Content analysis and interpretations were made in the light of the data obtained. As a result of the research on the works of various theorists who lived in different periods, examples were given about the historical process of the Rast makam in theoretical and practical contexts and the melodic progression and pitch structure in this process. In this way, data about the tradition and the change process of Rast makam, which is important for Turkish music, were revealed. As a result of the study, the parallelism of Turkish music theory with performance based on the Rast maqam was revealed, and it was stated that a school that can be defined as the maqam-sayi school was formed and that it would be more consistent to use this school in education and training as a requirement of the processes of training qualified performers.

 Turkish music is a refined art form that has developed on the foundations of makam, usul, and lyrics. It has adhered to traditional forms shaped over centuries and has particularly evolved and gained distinct characteristics during the Selcuk and Ottoman periods. In the continuous transfer of this tradition that has been ongoing for centuries, various differentiations such as education, training and theory are seen. In Turkish music, al-Kindi formed its nucleus and Urmavi developed and formed according to a decisive order, it was called the Systematic School in the theoretical view, and from this period on, continuous changes and developments were seen in makam expressions, structures and definitions. In this study, the change and development process in question is discussed chronologically; The study was examined on the axis of the Rast makam with sample work analyses. Rast makam, whose place in Turkish music works was frequently favored by ancient composers and performers, was described in Seydis work el-Matla as Ümmül Makâmât, meaning mother of makams. In this vein, it is possible that many makams in Turkish music were born andor derived from Rast makam. Rast makam began to be used as the main makam and main scale in the 15th century and was the first makam that was the subject of many works and was treated in meşk teachings. Along with the changes and diversifications of theoretical systems and views that emerged in the following period, some differentiations occurred in Rast makam as in many other makams. It is obvious that the changes and variations mentioned above affected both the compositional structures and theoretical expressions regarding the Rast makam. In the study, which was created on the axis of qualitative research methods, scanningsurvey, document review and classification techniques were used. Content analysis and interpretations were made in the light of the data obtained. As a result of the research on the works of various theorists who lived in different periods, examples were given about the historical process of the Rast makam in theoretical and practical contexts and the melodic progression and pitch structure in this process. In this way, data about the tradition and the change process of Rast makam, which is important for Turkish music, were revealed. As a result of the study, the parallelism of Turkish music theory with performance based on the Rast maqam was revealed, and it was stated that a school that can be defined as the maqam-sayi school was formed and that it would be more consistent to use this school in education and training as a requirement of the processes of training qualified performers.

 Türk mûsikîsi, makam, usûl ve güfte temelinde neşv ü nemâ bulmuş, asırlar ve eserler süzgecinden geçerek oluşturduğu kadîm geleneklerine bağlı, bilhassa Selçuklu ve Osmanlı dönemlerinden itibâren tekâmül ve temâyüz etmiş müzeyyen bir sanattır. Kaynaklar incelendiğinde, asırlardır süregelen bu geleneğin günümüze intikâlinde eğitim, öğretim, nazariyat gibi konularda muhtelif farklılaşmalar görülmektedir. Türk mûsikîsinde el-Kindînin nüvelerini oluşturduğu ve Urmevînin geliştirerek belirli bir nizâma göre teşekkül ettiği nazarî görüş, Sistemci Okul şeklinde adlandırılmış ve bu dönemden itibaren makam ifâdeleri, yapıları ve târiflerinde mütemâdiyen değişim ve gelişimler görülmüştür. Bu çalışmada mevzubahis değişim ve gelişim süreci kronolojik olarak ele alınmış; çalışma, örnek eser analizleri ile Rast makâmı ekseninde tedkîk edilmiştir. Türk mûsikîsi âsârında mevkisi, kadim bestekâr ve icrâcılar tarafından sıklıkla teveccüh gösterilen Rast makâmı, Seydînin el-Matla eserinde Ümmül Makâmât yani makamların anası ifâdesiyle nitelendirilmiştir. Bu minvalde Türk mûsikîsi bünyesinde yer alan birçok makâmın Rast makâmından doğması veveya türetilmesi söz konusudur. Rast makâmı, XV. yy.da ana makam ve ana dizi olarak kullanılmaya başlanmış, uzun yıllar âsâra konu olan ve meşk öğretilerinde işlenen ilk makam mâhiyeti taşımıştır. İlerleyen süreçte oluşan nazarî sistemlerin ve görüşlerin değişimi ve çeşitlenmesiyle birlikte birçok makamda olduğu gibi Rast makâmında da bazı farklılaşmalar söz konusu olmuştur. Bahsi geçen değişim ve çeşitlenmelerin Rast makâmına dâir hem beste yapılarını hem de nazarî anlatımları etkilediği âşikârdır. Nitel araştırma yöntemleri ekseninde oluşturulan çalışmada taramasurvey, doküman inceleme ve sınıflandırma teknikleri kullanılmıştır. Elde edilen veriler ışığında içerik analizi ve yorumlamalar yapılmıştır. Farklı dönemlerde yaşamış muhtelif nazariyatçıların eserlerine yönelik yapılan tedkîkler neticesinde Rast makâmının nazarî ve amelî bağlamda târihî süreci ve bu süreçteki seyir ve perde yapısı hakkında örneklerde bulunulmuştur. Bu sâyede Türk mûsikîsi için önemi hâiz olan Rast makâmının gelenek seciyesi ve değişim süreci hakkında veriler ortaya konmuştur. Çalışmanın sonucunda, Türk mûsikîsi nazariyatının Rast makâmı temelinde icrâ ile paralellik yönü ortaya konulmuş, makam-seyir ekolü şeklinde tanımlanabilecek bir ekol oluştuğu ve bu ekolün nitelikli icrâcı yetiştirme süreçlerinin gereği olarak eğitim-öğretimde kullanılmasının daha tutarlı olacağı ifade edilmiştir.

Article Details

Melodic Progression and Pitch in the Rast Makam in the Light of the Theoretical Sources and Works of Turkish Music

Authors:

Mustafa Süha Çubukcu

Publisher:

Necmettin Erbakan University

Main Topics:

Türk Sanat Müziğinde Yorumculuk

Journal:

İSTEM Issue 45, pp.271-294

Document Type:

Article

Publication Date:

6/2025

Document Language:

Turkish

Document ID (Org No.):

2001353663

pISSN:

1304-0618

Turkish Music

Theory

Makam

Rast

Melodic Progression

PitchTürk Mûsikîsi

Nazariyat

Makam

Rast

Seyir

Perde

Issues

Article Details

Authors: Mustafa Süha Çubukcu

Publisher: Necmettin Erbakan University

Main Topics: Türk Sanat Müziğinde Yorumculuk

Journal: İSTEM Issue 45, pp.271-294

Document Type: Article

Publication Date: 6/2025

Document Language: Turkish

Document ID (Org No.): 2001353663

pISSN: 1304-0618

Issues

Authors:

Mustafa Süha Çubukcu

Publisher:

Necmettin Erbakan University

Main Topics:

Türk Sanat Müziğinde Yorumculuk

Journal:

İSTEM Issue 45, pp.271-294

Document Type:

Article

Publication Date:

6/2025

Document Language:

Turkish

Document ID (Org No.):

2001353663

pISSN:

1304-0618