Examination of Huzzam hymns in the archives in terms of maqam and rhythm

In order to remember their musical melodies and pass them down to subsequent generations, people have utilized some signs that resemble sounds, such as in written language, since ancient times. It is well known that several notation techniques have been used in our Turkish musical tradition since the Gokturks and Uyghurs. When Classical Turkish Music reached its pinnacle and the perceptive of 'makam' developed, different notation techniques were tried and put to use, but the "mesk system," which we refer to as a master-to-apprentice, teacher to student system, was more widely adopted. This method of memory-based instruction has been crucial in preserving the aesthetic and attitude of music and passing down to following generations. The works that lacked a written musical language were lost due to the deterioration of the meşk practice system since the later phases of the Ottoman Empire. The development of western-style notation techniques during this period also altered how makam was perceived and led to disruptions of the theory and practice of our ancient music. It became required to make efforts to preserve the works by recording them using the Western notation method. Nevertheless, this situation has caused the differentiation of the original performances of the works, remaining to be limited the competence to perceive the makam to the person who wrote the copy, being indicated the meters for many works written with aruz prosody with the first usûl that comes to mind, and the formation of usûl arrangements according to the melodies, not according to the usûl during the writing of the note. - The TRT archive's whole collection of Hüzzam hymns was analyzed in this study in terms of makam and usûl. After identifying these discrepancies, all copies were re-noted and contributed to the archive. The works were examined in terms of makam in accordance with the theoretical aspects of the Hüzzam makam in the theories of Abdülbâkî Nâsır Dede, Raûf Yektâ Bey, and Yakup Fikret Kutluğ, as well as the observation aspects of the works which have the identity of classical performance composers representing the ancient understanding and tradition of Turkish music. Reviews of Usûl are made in accordance with the guidelines and standards for Usûl set forth in Prof. Dr. Mehmet Gönül's book. In this context, concerns like the harmony of the melody and lyric phrases with the times and beats denoted in the usûl circles, the placement and distribution of the tune and lyric elements inside the meter, the connection between the usûl pattern's strong and weak beats, as well as the focus and meanings in the lyrics and composition, and the work's unit times and musical phrase structure harmony in the denoted usûl were investigated. The study that is a qualitative study was adopted for the screening model. The appendices provide copies of the hymns of Hüzzam that have been adjusted in light of the makam and usûl investigations.