Examination of the maqam effects of contemporary Turkish composers in violin works based on Muammer Sun's 'Three Pieces for Violin and Piano'

Polyphonic music, which has a history of nearly two hundred years in Turkey, and Classical Western Music, which entered our country within this scope, has become rooted and widespread during this period, and has made a great progress in terms of both quantity and quality, especially in the period following the Republican revolutions. Contemporary Turkish composers have produced works in every form of this music genre and included all instruments in their works. Among these, the violin repertoire stands out in terms of both art and education. It is known that composers used the maqams of Classical Turkish Music within the framework of their own senses while writing works for this instrument. However, it is also a fact that the sound system of Classical Western Music is not suitable for the one-to-one application of these maqams. In works composed using this sound system, one can speak of "maqam effect" rather than maqam. The difference between "maqam" and "maqam effect" has not been sufficiently studied in the relevant literature so far. In addition to the necessary literature study, a survey was conducted in order to determine the most preferred works of violin educators and students of music education departments of education faculties and conservatories from seven regions of our country. As a result of the survey, it was seen that Muammer Sun's Three Pieces for Violin and Piano was preferred with a high rate. The piece in question is very suitable for examining the difference between "maqam" and "maqam effect". It was observed that the maqams used in the piece were handled sensually rather than theoretically. In the expert opinions received on the subject; the determination that some sounds specific to the maqams included in all three parts of the work are not present, therefore, it can be said that the maqams can only be felt. From this point of view, it should be emphasized that the concept of "maqam effect" is different from the concept of "maqam" in order to eliminate the problems encountered in the analysis of works and to prevent wrong applications. For this purpose, it is suggested that the literature be enriched with more frequent qualified academic studies, that our contemporary composers prefer modes that can be transposed in accordance with Classical Western Music, and that the subject of makam be addressed more comprehensively in solfege lessons in our educational institutions. Keywords: Maqam, Maqam Effect, Contemporary Turkish Violin Repertoire, Muammer Sun.