Yazarı bilinmeyen bir musiki risalesinde anılan perdeler ve makamlar

Abstract

It is not possible to consider the historical development of the tradi tional Turkish art music separately from the development of art and music in general. We base this view not only on theoretical books which were written on this music in the past and which todey are often called Edvar, but also on the fact that in such books music had been studied theoretically. Theoritical studies in Islam or Near East music dates beck to the 8th century A. D. By the time of Urumyah Safîuddîn, who belongs to that peirod, theoretical studies were mostly the translation into Arabic of books on Greek music. For this rea son, the history of the theory of the Turkish art music ought to be dated back to that period, or the history of the theory of the ancient Greek music and Middle - and Far East music. Music books have always been written in two forms in Near East music and Islamic culture. One of these was the specula tions of people who had knowledge on all subjects - such studies are called speculative theoretical studies - ; the other was the studies made by people who were specialised in the theories of the music of their period. The following subjects are discussed in theoretic al books that can be classified as classic, and were mainly written beetween the 13th and the 15th centuries: 1. system of tones (tones, intervals, and the rates of intervals), 2. melodi cal modes (makam, âvâze, şube ve terkîb); ve 3. rhytmicaJ modes (rhyt- mical models, that is Dca'). From the 17th century onwards, there has been a striking change in the forms, and contents of theoretic al books. System of tones which was discussed in great detail in the past has lost its importance and has been replaced by makam definitions. In theoretical books of this pe riod usûl definitions have become one of the main subjects. Yet in some books only the names of the usûl have been given, and in others the subject has not been included at all. The anonymous Der Beyân-ı Kavâ'ıd-i Nagme-i Perde'-i Tanbûr is such a work written in early 18th century. As we can understand from its title, it has used the intervals of tanbûr in explaining melodical theories. Here, what is ained at explaining as the theories of makam is in fact the theories of makam, in other words, the definitions of makam. Accordingly, in the article in questions, only the makâms have been discussed. 72In Part I of the thesis, the article has been rewritten for the benefit of the modern reader. The aforementioned makâms have been put in order, the article has been hyphenated, and explanations have been added in par- antheses. A index has also been included. In Part n, system of tones and the concept of the term makam have been explained from historical and technical point of views, and the makâms defined in the article have been redefined. Since the heights in traditional Turkish art music in comparative, we have especially abstained from using notes so as to avoid misunderstandings. In the Conclusion, we have made a bibliographical criticism, pointed out some confusing aspects in the article, and made some original evalua tions. 73