An analysis on the transposed maqams of Zengûle according to the theory of Hüseyin Sâdeddin Arel

In this thesis, the maqams/compositions (makamlar/terkibler), which are shown as Zengûle transposed to different frets, which are included in the transposed maqam class in the theory of Hüseyin Sâdeddin Arel, will be examined. Maqams in the theory of Arel; it is divided into three classes as "simple", "combined" and "transposed". While the maqams belonging to the transposed maqam class, which cause long debates among these three classes, are in the compositions class in the tradition, they are seen as a scale in the theory of Arel and are described with the characteristics of the "maqam" to which they belong. Considered as the transposed versions of Zengûle (Hicâz Zirgüle), which is in the class of simple maqams in the theory of Arel; when the original structures of Zirgüleli Sûznâk, Hicâzkar, Evcârâ, Sûz-i Dil and Şedd-i Arabân maqams are taken into consideration, it has been determined that they are different compositions from each other and are not related to Zengûle in terms of harmony characteristics. In the study, by following the comprehension and transfer processes of the maqams; first of all, compiling and explaining the concept of maqam with historical arguments, examining the previous descriptions of the maqams/compositions included in the research within the scope of the subject and researching what they actually mean, analyzing the maqams/composıtıons in the transposed class of Arel's Zengûle maqam with sample compositions in the light of all these information compilations, It is aimed to theoretically make sense of the methods used in the analysis and to make inferences by examining the concept of transposed maqam in Arel's theory once again in terms of this process.