Examination of the taksim genre in Turkish maqam music and Mesut Cemil's tanbur taksims in terms of form

Taksim in Turkish maqam music has been defined from different perspectives since 17th century. The features of the genre such as rhythm structure, composition structure, and performance area were expressed in ways that sometimes contradicted each other, and in this context, some points related to the genre remained in an ambiguous area. In the study, the elements that make up the taksim genre were evaluated through the definitions of taksim and the improvisation feature, rhythm-procedure structure, composition structure, performance area and modal structure were tried to be explained in the light of the data obtained through interviews and literature review. In addition, the sub-genres of taksim and the context of virtuosity were also examined in order to reveal the details of the genre. In the second stage of the study, the taksims of Mesut Cemil Bey, who is seen as one of the most important representatives of the taksim type, were discussed in order to evaluate the results of this examination on the taksim type. Mesut Cemil Bey's biography, his place in Turkish Maqam Music, his importance and evaluation in the context of taksim were examined with the data obtained by using literature review and interview techniques. In addition, Mesut Cemil Bey's eight tanbur taksims from different makams, published by Golden Horn and Kalan Music, recorded at the Cairo Eastern Music Congress and in Istanbul by Columbia Records, were examined in terms of mode use and form. According to the results of the study, it has been determined that the most important factor determining the form structure of taksims is duration, the modal structure is directly related to duration and subgenre, and the skill of making taksim is an evaluation area specific to Turkish Music in terms of performance competence.