A study on equivalents of the twelve makams in Uigur classical Turkish folk music in traditional Turkish music

The current study focuses on comparing the twelve makams in Uigur Classical Turkish Folk music with makam strcutures in Traditional Turkish Music, especially studying their relations with makam, scale, and rhythm structures in traditional Turkish Music, and starting from this point of view detecting current reflections of the musical patterns which are thought to be likely to bear the traces of the same root, revealing their possible contributions to the knowledge of the field of musicology.The study was realized through the content analys model of qualitative research and survey model of qualitative reserch methods.At the end of the study, especially in the analyses based on musical cultures the data obtained are that Uigur Classical Folk music and Traditional Turkish Music are reflected that they were fed by the same roots with respect to some differences; that there are lots of similar musical structures in terms of musical facts and elements; that trichords, tetrachords and pentachords structures which form the makams are composed of trichords, tetrachords and pentachords structures as in Traditional Turkish Music after studying the makams; that trichords, tetrachords and pentachords structures used in Uigur makams have the equivalents in Traditional Turkish Music (e.g. Rast pentachord, Eksik Segah pentachord, Buselik tetrachords, etc.); that trichords, tetrachords and pentachords structures used in Uigur makams, however, are composed through an articulation to the each other different from the features forming the makam such as progress characteristics, strong fret, scale formation, and suspended chords in Traditional Turkish Music; that the Segah Makam used in Uigur Classical Folk Music is similar to the Segah Makam used in Traditional Turkish Music both in title and in makam structures.KeywordsUigur, Makam, Analysis