The comparative analysis of the seyir of the maqam Isfahan and Isfahanek determination of the terkibs using the Isfahan maqam seyir

In the historical development of Traditional Turkish Music, the maqam Isfahân has been described in various ways by different theorists from the 13th century to the present day. When these descriptions are examined, it is observed that theorists generally do not have a common opinion about the seyir (melodic route) of Isfahan. In this context, in order to determine the changes that Isfahân has undergone in the historical process, primarily the concepts such as pitch, seyir, maqam and combination which are used in Traditional Turkish Music terminology are explained in our study. In the continuation of our work, comparisons of the theoretical Isfahan descriptions given by theorists between 13th and 20th centuries were made and theoretical seyir tables were created. In addition to the comparisons of the descriptions, some musical works in the maqam Isfahân were analyzed by the analysis method of Emrah Hatipoğlu. As a result of these analyzes, the Isfahân maqam was classified in three different ways. The seyir of Isfahân, which was determined as a result of the analysis of the sample works, was evaluated through this classification. The same method was used to determine the combinations using the Isfahan seyir.