Theoretical analysis of the application of modes in the context of the phenomenon of nağme

This study aims to employ the phenomenon of "makam melody" in defining and applying the identity of a makam in Turkish music. The research is based on the assumption that the fundamental element characterizing a makam is its unique, short, and distinctive melodic phrases. The study first examined the views of prominent theorists, from the earliest available sources on makam structure to the present day, who directly or indirectly employed the concepts of motion, seyir (progression), and nağme. Based on this examination, specific findings regarding these concepts were identified. Subsequently, nağmes were extracted from works obtained from reliable sources. These nağmes were numbered and classified according to their initial and final pitches, and their frequency of use within the repertoire was considered in the evaluation. They were then grouped according to their roles in the beginning, progression, and cadence sections, and the Makam Application Model Based on Nağmes was developed for each makam. The findings revealed that each makam possesses characteristic nağmes that define its identity. For instance, in the case of the Rast makam, even when nağmes were randomly selected and combined from the beginning, progression, and cadence sections, they consistently reflected only the Rast makam, with no indication of another makam emerging. In conclusion, the proposed model focuses on the small melodic units that directly determine the essence of a makam, without relying on specific theoretical concepts such as scale, pitch order, or cadential tones. This approach introduces a new perspective to the practice of makam in Turkish music and demonstrates the applicability of a nağme-centered method.