An analysis of traditional folk dance music performed in Elazığ province within the framework of the Arel-Ezgi-Uzdilek pitch system

This thesis analyzes the traditional folk dance music of the Elazığ-Harput region within the framework of the Arel-Ezgi-Uzdilek sound system, highlighting its significance in terms of both cultural heritage preservation and the applicability of Turkish music theory to regional musical practices. Emphasizing the cultural and mnemonic value of traditional music, the study examines Elazığ's local dance tunes in terms of modal structure (makam), pitch (perde), and rhythmic patterns. The extent to which these musical elements align with the theoretical system is evaluated, thus questioning the applicability of the Arel-Ezgi-Uzdilek model to Turkish folk music. The thesis provides a detailed analysis of pitch frequencies, modal structures, and rhythmic characteristics of selected dance pieces. The repertoire analyzed includes well-known folk dances such as Delilo, Temurağa, Fatmalı, Büyük Ceviz, Çayda Çıra, Çepik, Dik Halay, Avreş, Ağır Halay, and Keçike. By situating these musical practices within an academic framework, the study contributes to ethnomusicological literature and supports the accurate transmission of local music culture to future generations. Moreover, the research offers a theoretical foundation for integrating traditional music into formal education processes, thereby reinforcing the continuity of intangible cultural heritage within academic and pedagogical contexts.