An examination of Muallim İsmail Hakkı Bey's Nevruz compositions by their makams

In order to follow the tradition, it is necessary to establish a connection with the tradition. As the established bonds weaken, it becomes challenging to understand past practices. This understanding activity will be possible by evaluating the subject from different perspectives, not from a one-way point of view. This thesis study aims to understand the Nevruz makam, which has been in the literature since the 13th century, and the traces of change and transformation of the makam through the compositions of Muallim İsmâîl Hakkı Bey. It is clear that, especially in today's practices, the makam of Nevruz is not well known and confused with other makams. Therefore, findings and determinations obtained in the study provided new information about Nevruz makam and other makams and pitches. Analysis notes of the compositions in the study are using signs available in the Arel system due to their recognition and prevalence despite their deficiencies considering the habits of today's researchers and performers.