Maqam analysis of the musical pieces of Hüseyin Sadettin Arel composed in the Durak form

The Durak form, one of the ancient forms of Classical Turkish Religious Music, first examples of which were widely seen in the century XVII, is a unique form in terms of structure, makam, content and style of execution especially for Sufi music and after Mevlevi rituals. The Durak form which was executed generally with the free-reading style and meşk system up to the century XX, was transformed into the written form following measurement with Durak Evferi style in this century by Suphi Ezgi under his own name. Hüseyin Sadettin Arel, one of the most important theorists, musicologists and composers of the 19th century contributed greatly to the Durak form in terms of quality and number with his 111 new durak compositions, examples of which were few in Classical Turkish Religious Music. Arel not only exhibited his theoretical knowledge in these works, but also turned them into permanent artistic works. Thanks to his contributions, today 111 out of 188 duraks available in TRT (Turkish Radio and Television Corporation) archives are registered in the name of Hüseyin Sadettin Arel. Considering the method determination performed by Suphi Ezgi for the form in question, it can be said that, the most important revision in the history of this form was made through aforementioned durak forms composed and musically noted by Arel. The form which was previously executed with the free-reading style, was musically noted then with the style of Durak Evferi which made the form more diverse and rich thanks to these durak works composed by Arel. In this study, 108 surviving copies out 111 durak works of Hüseyin Sadettin Arel were examined and evaluated within the makam analysis method and the makam transitions and narrative perspectives used by Arel in these works were tried to be analyzed.