@article{article_584084, title={HALK MÛSİKÎSİ REPERTUAR İNCELEMELERİNİN MAKAM NAZARİYESİ ARAŞTIRMALARINA YAPABİLECEĞİ KATKILAR}, journal={Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi}, pages={1–27}, year={2016}, author={Öztürk, Okan Murat}, keywords={Key Words: Anatolian folk music repertory,makam theory,the mode of melodic motion,theoretical models}, abstract={<p>The repertory of Anatolian folk music has not yet been subjected to extensive </p> <p>studies in terms of various makam theories. The field of the history of makam </p> <p>theory, however, shows a remarkable diversity in terms of approaches and methods </p> <p>used by different theoretical models. In this article, by utilizing the approach of </p> <p>“Theoretical Models” developed by Öztürk (2014b), the various “modes of melodic </p> <p>motion” seen in the repertory of Anatolian folk music are compared with the </p> <p>descriptions in two historical models, namely “Esoteric Symbolism-based Model” </p> <p>(ESM) and “Compositional Direction-based Model” (CDM). In both of the “melodyoriented” </p> <p>historical models chosen for comparisons here, the description of the </p> <p>typical melodies are made by specifying the basic reference points of the motion </p> <p>[e.g. the beginning point (“âgâz”), the orientation style (“seyir”), the ending point </p> <p>(“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 found </p> <p>that the folk music examples are in full compliance with the descriptions of both </p> <p>historical models. Based on this study, it has been proven that the repertory of </p> <p>Anatolian folk music has a lot of potential to be a very productive area for new </p> <p>researches related to the concept of makam in the historical and theoretical </p> <p>contexts. </p> <p> <br /> </p>}, number={7}, publisher={Ege Üniversitesi}