Towards a Re-Approach of Makam Theory Based on Practice and Repertoire:The Case of the Segah Phenomena

Yıl 2020, Cilt: 3 Sayı: 2, 224 - 243, 01.10.2020

Nikos Andrıkos

Öz

This paper attempts to highlight the necessity of establishing a connection
between performance and theory in the field of Ottoman Urban Music. In
specific, it is crucial for theoretical thought to have a direct reference to and
depend on interpretative practices and repertoire. In the contemporary theory
of Ottoman Music phenomena, one can witness a contradiction between
the description of Makams and their performance. In this paper, the
phenomena that belong to the wider category of Segah are examined as case
study. Thus, a more functional way of approaching and comprehending the
aforementioned modal phenomena is proposed.
Methodologically, the analytical model that is suggested draws
numerous explanatory examples from masterpieces as well as
historically important renditions (repertorial and improvisational), that
belong to the family of Segah makam.

Anahtar Kelimeler

Nazariyat,, , Segah, Music Theory, Modality, performance, Repertoire

Kaynakça

• Referans 1 Akkoç, Can. (2008). "Türk Musikîsinde 􀃮craya Dayalı Nazariyat Modeli Bina Edilmesi" in: Proceedings of the International Invited Congress on the Problems and Solutions for Practice and Theory in Turkish Music, Istanbul: Kültür A.Ş.
• Referans 2 Akkoç, Can. (2002). “Non Deterministic Scales in Traditional Turkish Music” in: Journal of New Music Research, Vol. 31, No. 4.