Comparative Analysis of Rast and Sazkâr Maqams on Verbal Works

Abstract

The most important concept that create the basis of Turkish music is maqam. Throughout the historical process, many musicologists have discussed and classified maqams in different systems. These studies were published in written by the authors in their own time and have survived to the present day and have become a source of research. In order to understand the maqams, in addition to examining it is also important to compare different maqams and analyze the works composed in these maqams. The findings that emerge as a result of these analyzes clearly reveal the characteristic that distinguish the maqams from each other. Nowadays, with the increase in musicology and art proficiency programs of conservatories, there is an increase in academic studies on Turkish music. Maqam and composition analyzes also constitute an important part of these studies.

In this study, Rast and Sazkar maqams, which similar to each other but differ from each other in terms of their structural features are discussed comparatively. Theorical information about the maqams is given and their similarities and differences are revealed. The historical process of both maqams was examined. Maqam descriptions of musicologist who have made significant contributions to Turkish music are included and the process of change Rast and Sazkar maqams used today is explained through examples. Rast maqam has been accepted as the main maqam by musicolologists throughout history and many compositions have been made until today. The Sazkar maqam was invented in later periods and it is known that the number of compositions that have survived to present day is less than the Rast maqam. The most important reason why these two makams are preferred for analysis is that when performing the taksim form, which has an important place in instrumental music, the maqams with similar characteristics are confused with each other and cannot be distinguished during the performance. This is especially common in the Rast and Sazkar maqams. Considering that the distinctive features of both makams can not fully understand, it was deemed appropriate to conduct this study in order to better understand their different characteristics and solve to the the problem in question.

While examining both maqams, the form structures of the compositions were analyzed, the verse and terennum sections were examined in detail. Composer’s melody productivity is one of the important reasons why maqam recipes vary. For this reason compositions examined were preferred in the form of beste (2), ağır semai, yürük semai form composed by composers of different periods. The rhythms used in the compositions consist of zencir, hafif, remel, aksak semai and yürük semai. All the findings obtained from the maqam descriptions and composition analysis are shown with statistical, tablets and graphs, and the features that should be taken into consideration in taksim performance are discussed.