A maqam-based analysis of küçük Mehmet Ağa'sı compositions in the beste form with dügah as the finalis

This study examines ten compositions in the Beste form by Küçük Mehmet Ağa, one of the important composers of Classical Turkish Music, from a maqam-based perspective. In Turkish music, which possesses a deep historical background, the concept of maqam has always served as a fundamental structural element. Rather than relying solely on theoretical knowledge in maqam education, works composed by the great composers of the era are frequently referenced. Regarded as one of the major forms in Turkish music, the Beste serves as a guide to understanding the characteristics and melodic progressions of maqams. In the first stage of the study, general information is provided about certain maqams that were once popular but have since been forgotten or rarely performed. This includes the historical changes they underwent and their definitions within the framework of modern theoretical systems. In the second stage, Küçük Mehmet Ağa's compositions in the Beste form are analyzed to identify features such as melodic progression and emphasized pitches. During the literature review, ten compositions attributed to Mehmet Ağa written in manuscript form or using outdated notation systems were transcribed using digital notation software for clarity. Each piece was divided into sections based on specific criteria and subjected to detailed maqam analysis, supported by explanatory diagrams. The findings not only shed light on the maqam understanding and stylistic characteristics of the period but also serve as a valuable resource on these largely forgotten makams.