Techniques of Turkish Music Composition: A Preliminary Approach to Traditional Understandings and Contemporary Development in Usul, Makam, and Polyphony (original) (raw)

While scholarship in Turkish musicology and theory has reached a significant level, little work has been made to catalogue techniques available to the composer of Turkish music. Furthermore, new proposals for development in the tradition of monophonic Turkish makam music are nearly nonexistent. This thesis presents compositional techniques and theoretical models found in the tradition of Turkish makam music, developing them into new proposals for composition and performance. This work focuses on three main aspects of Turkish music: usul and aruz, makam, and polyphony. Usul is defined as rhythmic cycle, while aruz is poetic meter that is used in tandem with usul. Composers have utilized techniques of usul modulation, nested usul, and phasing. Furthermore, the identification of constituent usul cells in usul cycles can be used to derive new modulatory techniques. Modulation of usul is also possible through common aruz forms, while modulation of aruz form can be mediated with common usul cycles. Makam is defined as a modal-tonal complex under a new perspective of its principles in comparison to ancient Greek theory. This leads to a suggested analysis model for notating makam modulation in composition. New possibilities in makam modulation are explored after establishing a method for transposition and modulatory connection. Safiyyüddin’s thirteenth-century model of a transposable perde system is related to practical modulation possibilities, resulting in transposition capabilities upon 17 conceptual pitch regions. Polyphony in Turkish music began in the nineteenth century surrounding political reforms in the Ottoman Empire. A new phase in harmonizing Turkish folk music occurred following the establishment of the Turkish Republic in 1923. Since then, various approaches towards harmonizing Turkish melodies have been used by composers, including tonal harmony, quartal harmony, and contrapuntal technique. This thesis proposes a polyphonic approach that does not detract from the microtonal structure or melodic character of makam, but rather adapts contrapuntal technique of the medieval and Renaissance period to the service of makam. Each main aspect of composition is capable of being used with one another, creating new stylistic possibilities related to makam. To exemplify the compositional techniques discussed, original pieces that highlight innovation in usul and aruz, makam transposition, and polyphonic makam are presented.