The examination of the makam structures that posseses specific local names within Harput music culture

This thesis depends on the hypothesis that the makams with specific local names should have the potential of successfully defining the Harput regional music culture. Thus in this study several examples, that were selected due to their popularity on the oral and written regional music sources, on such makams with specific local names as Muhalif, Beşiri, İbrahimi, Nevruz, Versak and Kürdi will be analysed to reach some conclusions regarding the characteristics of these makams. Hereby, both the originality and the importance of these makam cultures regarding the regional music culture will be discussed. Besides, these examples about the given makams will be compared with the historical theory books and historical musical finds to find out the possible relations of the current performance with the sources of theory and the historical findings of the past music culture. The main aim of the study is to search and put forward the importance of these regional makam structures on the original musical character reflected by Harput Music. It is also thought that "the melodic nuclei" based analysis that is used all through the thesis, is very suitable in understanding the "melody -oriented" performance and composition choice that is lying in the center of makam based Harput Music. Moreover, this analysis was efficiently used in analysing the "multi-layered makam and form structures" that had aroused as a result of this "melody-oriented" choice in Harput Music Culture. The results of these analysis will hopefully open a way to percieve and transmit the "musical codes" of Harput Music.