Research Information System
4th International Rast Music Congress (IRMC), Antalya, Turkey, 30 November - 01 December 2024, vol.1, pp.15, (Summary Text)
This study thoroughly analyzes the use of Hüseyni and Uşşak makams in the works of Aşık Veysel, one of the foremost figures in Turkish folk music, aiming to examine the relationship between individual performance styles and theoretical frameworks of makam. The research focuses on understanding Aşık Veysel’s musical identity and his unique approach in performances, highlighting the dynamic interplay between the technical characteristics of makams and personal interpretations. The study involves a detailed analysis of the frequency of pitches, melodic progression characteristics, and microtonal structures in Aşık Veysel’s works. Selected pieces from the Kalan Music Archive series were analyzed using the MakamBox software, generating pitch histograms and melograms based on the findings. The analyses revealed the prominent use of the Segah pitch, often performed with tonal deviations from theoretical reference values, and identified predominantly descending (initi) melodic progressions across all pieces. The findings demonstrate that the makams performed in Aşık Veysel’s works align with theoretical knowledge but acquire a distinctive individual interpretation. While Uşşak makam is traditionally characterized by ascending progressions and Hüseyni makam by descending ones, all of Aşık Veysel’s performances displayed descending progressions. This observation reflects the shaping of musical expression rather than merely adhering to emotional atmospheres. Notably, the strong emphasis on the Re (Neva) pitch significantly influenced the overall structure of the performances, drawing them closer to the characteristics of the Muhayyer makam. The prominent use of the Segah pitch in Aşık Veysel’s works further underscores its role as an enhancer of the expressive capacity of makams. However, the tonal variations observed in its performance suggest a departure from traditional rules, illustrating Aşık Veysel’s unique interpretation within the framework of makam theory. The frequent emphasis on Segah, whether flat or sharp compared to theoretical references, highlights how individual performance approaches can adapt and expand the boundaries of makam theory in Turkish folk music. The findings underscore how individual performance styles in folk music can transform traditional theoretical frameworks. Aşık Veysel’s balance between adhering to traditional makam features and
expressing personal interpretation reveals how makams serve as flexible tools for artistic expression. The descending nature of his performances is significant not only for understanding theoretical differences but also for comprehending the melodic paths followed in his music. This research meticulously examined melodic progressions, final pitches, and frequency distributions in Aşık Veysel’s works. Analyzing these features clarified the differences between the traditional characteristics of Hüseyni and Uşşak makams and Veysel’s individual interpretations. The strong emphasis on Re (Neva) in the performances stood out as a motif and demonstrated how Veysel’s performance style extended beyond conventional makam structures. In conclusion, the execution of makams in Aşık Veysel’s works reveals the dynamic relationship between theoretical knowledge and individual performance in Turkish folk music. Veysel’s unique interpretations of traditional makams highlight the creative potential of folk music. These findings emphasize that makams in Turkish folk music are flexible structures that accommodate both traditional and individual interpretations, offering insights for broader studies in this field. Aşık Veysel’s music represents an artistic approach that bridges tradition and modernity, functioning not only as a medium for personal expression but also as a link between the conventional and the innovative.