Analysis of the works of Ali Rifat Çağatay from the perspective of Turkish classical music in terms of makam, form, and usul characteristics

In this thesis, which focuses on the modes, rhythmic structures (usul), and formal understanding in the works of Ali Rifat Çağatay, one of the prominent Turkish makam music composers of the 20th century, his compositions are examined under various headings: his adopted approaches to musical notation, formal construction, modal analysis, form–usul relationship, and form–lyrics relationship. The study first provides a brief overview of the historical development of Turkish makam music from past to present, as well as the contributions of significant figures to this tradition. Subsequently, it introduces Ali Rifat Çağatay—described in various sources as the "musical prince of the century"—who lived during the late Ottoman and early Republican periods, and who was a theorist, cellist, ud player, and music scholar. Alongside biographical and theoretical information, explanations on musical genres and forms in Turkish makam music are presented in order to provide a framework for the analytical phase. The aim of this study is to analyze Ali Rifat Çağatay's compositional approach by examining the sentence structures, rhythmic elements, use of nuance, formal and genre characteristics, modal progressions (seyir), modulations, pitch preferences, and unique theoretical perspectives present in his works. The methodology employed is descriptive in nature, based on a general survey model, and qualitative data analysis was applied. During the data collection phase, a total of 57 works attributed to Ali Rifat Çağatay were taken into consideration. However, since the manuscript of the operetta Köse İmam could not be accessed and polyphonic works were not suitable for analysis within the framework of makam theory, the study was limited to 53 compositions. In order to access the notations, sources such as Ölümünün 80. Yılında Arşivden Ali Rifat Çağatay Besteleri published by OTMAG, as well as private archives belonging to Cüneyd Kosal, Nuri Duyguer, and Kutlu Payaslı, were utilized. In the analytical stage, the tonal arrangement (perde düzeni) of each work was first identified, followed by the comparison of notational variants, with discrepancies resolved through archival cross-checking. All pieces were subsequently transcribed using the Musescore notation software. Thereafter, formal elements such as musical sentences, sub-phrases, and connecting passages were identified, annotated in the score, and represented through schematic diagrams. Once the form diagrams were established, modal analyses were carried out in light of theoretical sources. In this section, the composer's modal conception was evaluated in relation to the theoretical treatises of the 17th–21st centuries, as well as his original modal usages. Under the heading of Form–Usul, the study determined the rhythmic cycles within which musical sentences were completed, the balance between sentence fragments, and whether the structures displayed regularity or irregularity. Under Form–Lyrics, the relationship between lyrics and form in vocal works was analyzed. The entire poetic text was transcribed, and the placement of musical sentences and sub-phrases upon the text was identified and marked. Finally, for pieces where the form–lyrics relationship was determined, prosodic (meter) tables were constructed in accordance with the poetic meters, thus clarifying the connection between rhythmic cycle (usul) and poetic structure. Through these analytical procedures, all 53 works were systematically examined in detail. Findings indicate that Ali Rifat Çağatay notated all of his works using European staff notation, but included usul markings in only 35 of them. His use of rhythmic indicators, ornaments, dynamic markings, articulations, and tempo indications appears selective, revealing his multifaceted approach in synthesizing elements of both European and Turkish makam music. In terms of genre distribution, the majority of his works fall under the category of song, followed by medhal, murabba, marches, and instrumental compositions. Analyses of the form–sentence, form–usul, and form–lyrics relationships demonstrated that structural coherence was not consistently achieved. The correspondence between poetic text and musical phrasing was preserved only in a limited number of works, while in some compositions only partial sections of the lyrics were set, or textual integrity was not maintained. Modal analyses revealed that 46 works conformed to traditional modal descriptions, while 6 compositions diverged from convention. These deviations are attributed either to his practice of transposition within the framework of şed makam (secondary modal constructions) or to variations in finalis (cadential pitch) choices. It was further observed that the composer introduced pioneering experiments in forms such as Nevzemin and Medhal, and contributed innovations to the Yürük Semai genre. Influenced by the cultural reforms initiated under Mustafa Kemal Atatürk, Çağatay's compositional approach appears to integrate both traditional and modern elements. In this respect, Ali Rifat Çağatay is not only regarded as a composer but also as a musical thinker who contributed on a theoretical level and played a pivotal role in the modernization of Turkish music.