A computer aided analysis for the problem of the disharmony between theory and practice in Turkish music: Beki̇r Sitki Sezgi̇n as an example

Expressing practical music on a theoretical basis has been an ongoing effort for centuries. Based on the existing documents, such studies that are considered to have been initiated by Greek Philosopher Pisagor (b.c. 580-500), have made it till present day with the emerging pitches that occurred with the changes and advancements in music. The diversification of the pitches made it necessary to revise the system which, at some point, failed to thoroughly express the practical music. The difference between the pitches used in practical music and the data defined by the theory for them is a universal problem not only for Turkish music but all others for a very long time. This study aims at finding an answer to the controversial issue of whether there is a disharmony between theory and practice with an objective, reliable and correct method as well as making use of the opportunities of computer based technologies. The main goal is to detect and put forward the problem in a concrete way rather than resolving it. This study will make a comparison and analysis between the theory of Mr. Hüseyin Sâdeddin Arel who is a critical figure in Turkish music and whose works are widely used particularly by Turkish Radio and Television (TRT) and state conservatories, and the voice records of Bekir Sıtkı Sezgin who made his mark in Turkish music in the last century and recognized as "the pitch man" due to his contributions to the practice of musical pitches by using his own voice. Without any instrument to have an impact on the musical pitches, these records (acapella) are of paramount importance in terms of analyzing the treasure of such an important reference that is accumulated in the form of practiced music.