A new approach to the issue of usûl in Anatolian folk music based on theoretical models

This study focuses on the concept of usûl (rhythm) in Anatolian folk music, which has historically presented various theoretical issues and continues to await resolution today. Designed as qualitative scientific research based on an interpretative (hermeneutic) approach, the study employs historical investigation and structural analysis as its primary methods. The survey technique is used for the historical investigation, while musical analysis is applied in the structural analysis. Within the framework of the historical approach, written sources shedding light on the rhythm and usûl dimensions of Anatolia's classical and folk music traditions were examined. The theoretical models proposed by various theorists in these sources were analyzed critically and multidimensionally in terms of their similarities and differences, thus providing a historical foundation for the study. As a result of these investigations, it was determined that the history of music theory comprises four characteristic models regarding the understanding of usûl. These models were classified based on six distinct criteria: (i) intellectual focus, (ii) fundamental concept, (iii) method of description, (iv) style of classification, (v) language, and (vi) terminology. Accordingly, four primary theoretical models were identified in the history of usûl theory: (i) the Cycle Model (CM), (ii) the Esoteric Symbolism-Based Usûl Model (ESUM), (iii) the Composition Direction-Based Usûl Model (CDUM), and (iv) the Tonality-Based Usûl Model (TBUM). The findings of the study revealed that existing theoretical models contain various problems and fail to adequately represent the local, regional, and vernacular diversity of folk music. To address these shortcomings, the concept of usûl was reexamined through a holistic approach, incorporating its fundamental components such as darp (beat), nakre (rhythmic motion), mertebe (hierarchy), and vezin (metrical pattern). A new approach was developed to resolve ongoing issues in usûl theory. Within this framework, analyses were conducted on a repertoire comprising local folk melodies and songs, yielding significant findings regarding the rhythmic structure of folk music. As part of the study, a total of 80 pieces were analyzed based on local field recordings and performance materials. These pieces were transcribed and analyzed using a dictation method in line with the new approach, and their usûl patterns were identified. The works were re-notated in a format that included information about the names and notational details of the identified usûl patterns. The data obtained confirmed the existence of unique rhythmic cycles outside the traditional usûl theory in folk music and underscored the necessity of defining these structures within a theoretical framework.