A compositional archetype, in the context of musical and structural components of the jazz albums published between 1970-1980, containing Turkish music elements

This research aims to portray the data, obtained by examining the first studies in which jazz music and Turkish music were performed together, in an original work written for big band jazz ensemble and Turkish music instruments. Within the scope of the study, detailed information about the various styles that have changed since the beginning of jazz music, instruments used in jazz music and the ensemble structures were explained primarily. The meeting of jazz music with Europe and Turkey was explained in the context of important events in history, socio-cultural transformations and important names in Turkish jazz history. The formation process of jazz albums containing elements of Turkish music after 1970 was explained within the framework of postmodernism. Transcriptions obtained from fifteen albums, published by five jazz musicians who produced in the field of jazz fusion, were analyzed. In the light of the Turkish music system and its characteristics, the relevant maqams and usuls were presented in tables according to their ratio in the albums. The maqams were compared with the harmonic approaches; the usuls were compared with the styles used by jazz musicians. Analysis of the results showed that the melodies were always performed with Turkish music instruments in works containing these instruments, these instruments preserved the structures of the usuls regardless of the styles of the works and the characteristics of the maqams used in the works determined the harmonic structure. All the findings regarding the musical and structural elements in the albums were reflected in the composition called "Big Band A La Turk". Keywords: Jazz Music, Turkish Music, Maqam, Usul, Harmony, Big Band