Online Journal of Music Sciences (Jun 2024)
THE FUNCTIONS OF THE “KEBÎR”-“SAGÎR” ADJECTIVES IN MAKAM NAMES AND THE REFLECTION OF THEORETICAL APPROACHES
Abstract
When the theoretical sources of makam music are analyzed, it is seen that various theoreticians use combined names produced by adding some adjectives to the name of any makam in the names of melodic structures such as makam, voice, branch and compound. Melodic structures with these combined names continue to exist as a variant with other melodic structures with which they are closely related or as a unique melodic structure with different characteristics. Based on the explanations of the theoreticians, it is understood that these additions to the names of makams are generally made with a specific purpose in terms of melodic aspects. In this context, this study aims to examine the purposes for the use of adjectives "kebîr", "sagîr", "sagîrek" and "kâmil", which are frequently seen in the names of makams in theoretical sources. In addition to this aims, to question the possibilities that these makam names might provide in understanding certain stages of change in the theoretical tradition, the basic approaches of theoreticians and the relationship between the fields of performance and theory. To this end, the makam names found in theoretical sources from the 13th century to the 20th century were searched for with reference to three different makam catalogs, and the makams with the aforementioned adjectives in their names were identified. The definitions of the identified makams were analyzed and compared with that of other makams to which they are closely related in terms of variantization, thus determining the purposes of use of these adjectives. According to the findings, it has been concluded that the adjectives kebîr, sagîr, sagîrek and kâmil in the names of makams are used for a functional distinction in terms of the sound field and melodic range in which the makam is realized. It has also been revealed that these makams provide important clues for understanding the various characteristics of theoretical models, the change of makams throughout their known history and the interaction between performance and theory.
Keywords
