Rast Müzikoloji Dergisi
Yazarlar: Kubilay YILMAZ
Konular:Sosyal
Anahtar Kelimeler:Tone-system,Turkish music theory,Arel-ezgi-uzdilek,Classical turkish music
Özet: Available sources that discuss Turkish music theory date back to Farâbî (10th century). While some studies with new theoretical understandings have been conducted since then, some others could not have gone beyond repeating the previous ones. Important music researchers, such as Farâbî and İbn-i Sînâ (11th century), carried out significant studies on Turkish music theory. However, the tone system studies of Safiyüddin Urmevî, who lived in the 13th century, have attracted more attention than studies conducted a few centuries before and after him. Centuries after Safiyüddin, the 24-fret system, which was first described by Rauf Yekta in the 20th century and then by Hüseyin Saadettin Arel, Suphi Ezgi, and Salih Murat Uzdilek with minor changes, flamed the tone system issue in Turkish music. While examining the 24 unequal interval tone system discussed in the present study, as can be understood from the title, the works of Rauf Yekta Bey were not addressed as the same as Arel-Ezgi-Uzdilek. The reason for this is that Yekta’s using different terminology (limma instead of bakiye, apotom instead of kucuk mucennep, etc.), although at the same rates, in dividing the binary interval, his showing the main scale on the Yegâh fret, and, thus, showing the Iraq and Segâh frets as the elements of the main scale, and using modifying signs different from Arel could lead to terminological confusion in the manuscript. As stated by Arel in the “Turkish Musical Theory Courses (1993),” the 24 unequal interval system obtained by the transposition of special fifths and fourths, which are useful for the scale formation, to all tones of the maqam scale named “Kürdîli Çargâh” by Arel (created with the addition of the Bûselik fourth to the Çargâh fifth) and 11 fifths starting from the Çargâh fret to a high-pitched voice, and 12 fourths starting again from this tone to a high-pitched voice, was generally accepted as the best system that could be used to express Turkish music. In this sense, it has overshadowed Safiyüddin’s system and many other system proposals that have been put forward after it.
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