The effect of meşk sequence on composers' use of makam composition course (Hammâmîzâde İsmail Dede Efendi example)

Meşk is an important educational method used in the repertoire, manner, and style of the makam probability. Each teacher transmits his/her knowledge to the students in a sequence that he/she considers appropriate. In the study, in order to determine at what level the student who grew up with this transmission developed a style similar to his/her teacher, the works composed by the composers included in the research in the same makam or composition were selected and their course analyses were conducted. Similar and different aspects of the theory and practice were identified. Since Şevkî Bey does not have any vocal forms in religious form, the study consists of vocal forms in non-religious forms. Due to the large number of forms composed by Şevki Bey and Hacı Ârif Bey in Uşşâk makam, those with the same flow characteristics were not included in the study. As a result of the analyses, similar and different aspects were determined in the use of makam/composition. Sometimes a composer left the line with a striking difference, sometimes they all produced works in a common line. In the works composed in Hüzzam composition, binding of meşk has been determined in terms of the understanding of the flow, but in the works composed in the Uşşâk makam, the meşk chain was separated from each other in the understanding of the flow. As a result of comparing the theoretical sources of the period with the works, many similarities and differences between the descriptions and the works were obtained. While Uşşâk compositions are partially compatible with Tedkîk ü Tahkîk in terms of starting the flow, they have similar usage with Haşim Bey Edvârı and Mûsîkî İstılâtı.