Musical analysis of hoyrats which is uzun hava kind of in Elazig-Harput region

Hoyrats which belong to the uzun hava genre, has an important place in Elazığ-Harput music culture. Although it is known that the hoyrat tradition is also carried out in various regions such as Kirkuk, Urfa and Diyarbakır, it is observed that Harput hoyrats integrated with the local cultures have unique features. The objective of this study is to determine the point reached with in the information about Elazig-Harput hoyrats as well as to clarify this information in the light of scientific data by determining the gaps and skips in the literature. In this study, fifteen hoyrat from Elazig-Harput region were discussed and examined in terms of maqam, movement, time signature, range, meter, accidentals and key signature. As a result of the data we obtained, it was determined that five of the fifteen works are in 10/8 Aksak Semai time signature, two of them are in 4/4 Sofyan time signature, one is in 6/4 Sengin Semai time signature and the remaining seven hoyrats have no meter. Also, Elezber, Kürdi and Hüseyni hoyrat, belonging to Harput, to the Uşşak and Hüseyni maqam in Turkish Music, to the Hicaz maqam of Versak and Şirvan hoyrat in Turkish Music, to the Hüseyni maqam of Bağrıyanık and Ölüm hoyrat in Turkish Music, to the Segah and Hüzzam maqam of Muhalif hoyrat in Turkish Music, to the Neva, Uşşak and Hüseyni maqam of Kesik hoyrat in Turkish Music, it is revealed that Beşiri Hoyrat may correspond to the maqam Rast and Zavil in Turkish Music, but because the works were anonymous and emerged without concern for the maqam, they could not fully display the maqam characteristics in Turkish Music. In the lyrics of the works often 'Tam Mani' in Bağriyanik and Kurdi hoyrat , 'Uzun Kesik Mani' in Versak hoyrat, 'Kesik Mani' in Elezber, Şirvan, Hüseyni, Muhalif, Kesik, Beşiri and Ölüm hoyrat is used.