Comparative examination of the change of Turkish maqam music vocal pieces compositon between the seventeenth and nineteenth centuries in terms of form and maqam

The subject of the study is the changes in Turkish maqam music oral composition in terms of maqam and form in the last three hundred and fifty years, from Hatip Zâkirî Hasan Efendi, one of the most important composers of the period who lived between 17th and 19th centuries, to Muallim İsmail Hakkı Bey. The aim of this study is to examine the period between the 17th and 19th centuries in the light of the twenty-five classifications made regarding the periods of Turkish maqam music and analyzing the Works of Hatib Zâkirî Hasan Efendi, Hafız Post, Buhûrîzâde Mustafa Itrî, Dede Efendi, Hacı Arif Bey and Muallim İsmail Hakkı Bey in terms of form and maqam comparing the analyzes with each other, explaing the change in Turkish maqam music oral composition between the 17th and 19th centuries in terms of form and maqam. One of the qualitative research methods, the historical research method was used in the study. The works examined in the research and analyzed in terms of form and maqam are limited to the works of Hatib Zâkirî Hasan Efendi, Hafız Post, Buhûrizâde Mustafa Itrî, Dede Efendi, Hacı Arif Bey and Muallim İsmail Hakkı Bey in the TRT repertoire. As a result of the form and maqam analysis of the examined works, it was observed that religious forms were composed more than non-religious forms in the 17th century, the number of alteration in the works composed in the eighteenth and nineteenth centuries increased compared to the seventeenth century, and the melodic circulation that took place between the Rast-Nevâ frets in the seventeenth century was determined that it concentrated between the notes of Nevâ-Gerdâniye in the eighteenth and nineteenth centuries. Keywords: Maqam, Form, Song, Oral work composition, maqam analysis