The use of the "Şarkı" form in turkish makam music as "Taksim" and a method of study

In this thesis, the taksim form, featuring improvisatory compositional skills and musical knowledge in Turkish Makam Music, is presented as an alternative method of study. In addition to all of the traditional methods of performance of the taksim, a written reference is desired by performers. The şarkı form in the vocal repertoire of Turkish Makam Music creates a suitable structure for the study of taksim performance. Furthermore, in comparison to post-20th-century performers of the taksim, past masters of the taksim demonstrate a more form-based classical taksim structure in their vinyl recordings. The existence of structures similar to that of the şarkı form in classical taksims and gazel performances support this view. Therefore, the şarkı form is taken as a base of reference in this method of study, whereby variations of each section of the şarkı: the zemin, nakarat, and meyan, are performed in the taksim. In the first part of the study, the concepts of improvisation and taksim are mentioned and the purpose and methodology are explained in detail. In the second part, the methods of performing the taksim in Turkish Makam Music and its qualifying elements that are evaluated. Thereafter, the types of taksim are classified and its areas of application are described. The gazel form, which introduces the understanding of improvisation in Turkish Makam Music through the limitless range of the human voice is also included, and is examined from a musical and literary perspective. In the third section, the şarkı form is defined, whereafter several examples of classical taksim showing similarities with the şarkı form are presented. This section includes analyses of taksim and gazel which show similarities to the song form. The fourth section is devoted to a study of ten classical taksim which are composed in the following makams: Sultaniyegah, Acemaşiran, Hüseyni, Bayati, Karcığar, Hicaz, Şedaraban, Segah, Nihavend, and Hicazkar. These taksim were made through variations of the zemin, nakarat, and meyan sections of the şarkı; makam analyses of the selected pieces are also made. In the conclusion of these analyses and this study of taksim, a method of study that can easily be applied by performers is derived. The fact that şarkı possess a small-form structure and are composed with small usül (rhythmic cycles) has facilitated the analysis of the elements of makam in these pieces. The simplistic writing style of the musical notation additionally contributes to the development of compositional skills through personal musical understandings in the interpretation of şarkı melodies.