The concept of composition in Turkish music and the change processes of the compositions in the Galat-ı Meşhûriyet in Kantemiroğlu

The scales other than the twelve ancient makams, avâze and şûbe that constitute the rich structure of Turkish music are referred to as compounds in pre-19th century music sources. When historical sources are examined, it is seen that there are differences of opinion among theorists about the number and definition of compounds. For this reason, the need for anthological studies on compounds in order to understand the theory of Turkish music modes constitutes the problem of the study. Based on the problem, this study aims to examine the changes in 22 compounds given in Kantemiroğlu under the name of galat-ı meşhûriyet until the 20th century. The study is important in terms of providing information about the theory of Turkish music in the Ottoman period. In line with the determined purpose, the study was limited to the 22 compounds mentioned. In this study, which is a qualitative research, the document review technique was used. Thus, it was investigated how theorists between the 13th and 20th centuries described the compositions. When explaining the information about the compositions, it was tried to be as careful as possible to take chronology as a basis. The information obtained about the compositions was named and interpreted according to the basic tetrachords and pentachords in Arel theory. As a result of the evaluation, the compositions that showed change and those that did not were determined. For example, while the Hüzzâm composition in Kantemiroğlu underwent major changes in terms of the frets, resolution, equipment and progression used in the process until Arel theory, the Acem Aşîran composition did not undergo any change. It is suggested that other compositions in Turkish music, other than galat-ı meşhûriyet, be used in 21st century theoretical explanations by revealing their change processes with the method used in the study.