This text targets a review of the computational analysis literature for Turkish makam music, discussing in detail the challenges involved and presenting a perspective for further studies. For that purpose, the basic concepts of Turkish makam music and the description of melodic, rhythmic and timbral aspects are considered in detail. Studies on tuning analysis, automatic transcription, automatic melodic analysis, automatic makam and usul detection are reviewed. Technological and data resource needs for further advancement are discussed and available sources are presented. Osmanlı/Türk (sanat) musikisi') and exclude folk and popular genres, while most of our discussions would still find some relevance for these excluded genres. When we provide analysis results to demonstrate an approach, the data sets used include pieces from a time span of 3-4 centuries from composers like Itri, İsmail Dede Efendi, Hacı Arif Bey, Tanburi Cemil Bey and Sadettin Kaynak. 2 We use the spelling "makam" here, which is used in Turkey, because we mainly refer to the concepts of music traditions practiced nowadays in Turkey. 3 Yekta cites the following reference for this definition: Dechevrens, A. (1898). Etudes de science musicale. 1-11, Paris. 4 The terms like çeşni, güçlü, karar and seyir are explained in various sections of the text. In addition short descriptions are provided in the glossary section at the end. 11 Signell's book (Signell, 2008) presents most of the crucial parts of this theory in a compact form. 12 We use this term because we want to avoid the misleading dichotomy of Western and non-Western music. 13 Should be Uşşak flavor. Unfortunately the eager effort of the renowned master Murat Aydemir is overshadowed by occasional errors in the representation. 14 Should be Rast flavor with acem pitch. This error is possibly due to a translation error.

The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.

2007 Ocak ayında İTÜ Sosyal Bilimlerde yapılan tez çalışmasından kaynaklanan bu makale, 10 icracı üzerinden yapılan 14 eserin ses kayıtlarında yalnızca insan sesi ile gerçekleştirilen süsleme elemanları olan nota dışı farklılıklar üzerinde belirleme ve sınıflama girişimi ile bu elemanların müziğe sağladıkları katkı ve etkilerin neler olduğu tespit edilmeye çalışılmıştır. Müziğin tarihsel gelişim ve değişiminin tespiti açısından kayıt örneklerinin çözümlemesi ile Türk makam müziğinde üslûp analizi çalışmalarında hızla yol alınacaktır. Bu çalışmalar ile müziğin bilimsel ve estetik yönünün açığa çıkarılması ve kuramsallaştırılması mümkün olacaktır. Fasıl şarkıcılığında bireysel yaratıcılığın asâletine ve icrâ ekolünün sorumluluğuna sahip müzisyenin icrâsı sırasında gerçekleştirdiği melodik örgü ve motifleri zenginleştirmek için kullandıkları süsleme elemanlarının analiz ve sınıflandırmaları gereklidir. Böylece, fasıl şarkıcılığı eğitimi açısından metodik oluşumlara yönelik ve icra kolaylığı açısından süslemelerin nota yazımında kullanılabilmesi için gerekli işaretlerin tespitinin yanı sıra fasıl şarkıcılığı icra tarihinin oluşturulması konusunda da gerekli verilerin oluşmasına mümkün olacaktır.

No abstract

ÖzetBaşlıkta yer alan ibâre, iki temel sorunsalı, a) adlandırma/ kavramlaştırma (terminoloji) ve b) sınıflandırmayı işâret etmektedir. Bildiride, bu iki sorunsal üzerinde durularak, Türk makam müziği konuları ve çalgılarına nasıl uyarlanması gerektiği hususu irdelenecektir.Anahtar sözcükler: Klâsik, Türk makam müziği, Türk müziği çalgıları ADOPTATION PROBLEM OF CLASSICAL CONCEPT IN TURKISH MAKAM MUSIC THEMES AND MUSICAL INSTRUMENTS AbstractThe title consists of, both naming/ conceptualisation (terminology) and classification, which are two basic problematic issues in Turkish music area. Within the frame of this assertion, these two basic research questions will come up and be examined, and also will be explained, how they should be used or implemented over Turkish makam music themes and musical instruments describing, either.Key words: Classic, Turkish makamic music, Turkish musical instruments GİRİŞ:Türk Makam mûsikîsi'nde adlandırma/ kavramlaştırma, diğer bir deyişle terminoloji bahsi, halli gereken temel meselelerin başında gelmektedir. Müziğimizin üst başlığını oluşturan "Türk Mûsikîsi" genel adlandırmasından başlayarak, ona dahil ve ilişkin diğer alt başlıkların ve o alt başlıklara dahil konuların da mantıklı bir silsile içerisinde ve doğru biçimde adlandırılmaları, bilimselliğin bir gereğidir. İsimlendirme/ler, kavramlaştırma/lar, isimlendirilen ve kavramlaştırılan husus üzerinde hiçbir şüpheye yer bırakmayacak, temiz, net,