%0 Journal Article
%T Analysis of the Makam Ni£¿ab£¿rek from Edvar Tradition to the Modern Day
%A S¨¹han £¿RDEN
%J -
%D 2018
%X The makam Ni£¿aburek is only one of many makams that have changed and transformed in the history of Turkish makam music theory. Nowadays, Ni£¿aburek Maqam is known with the definition made as the £¿ed (transposed) version of the makam rast in d¨¹gah pitch by Z¨¹ht¨¹ Suphi Ezgi (1935-1953) in the book titled Nazari ve Ameli T¨¹rk M£¿sik£¿si (Turkish Music in Theory and Practice). It is also possible to see similar definitions in the studies of theoreticians such as Ekrem Karadeniz (1984), £¿efik G¨¹rmeri£¿, £¿smail Hakk£¿ £¿zkan (1984) and Yakup Fikret Kutlu£¿ (2000). Yakup Fikret Kutlu£¿ included the statement of his teacher, H¨¹seyin Sadettin Arel, ¡°none of the £¿eds of rast makam have been used individually until today¡± in the book titled as T¨¹rk Musikisinde Makamlar (Makams in Turkish Music) (2000) and claims that he does not consider the makam Ni£¿aburek of Arel as the £¿ed of rast. Although Suphi Ezgi had such a claim, he states that he also changed his view later, that Ni£¿aburek is not the £¿ed of rast because the makam consists of two separate scales on d¨¹gah and b£¿selik picthes, and that this formation is contrary to the character of £¿ed makam. Yakup Fikret Kutlu£¿ states that he also does not consider Ni£¿aburek as the £¿ed of rast maqam, however, the uncertainty about which information he based his thesis on maintains his agenda not only in Kutlu£¿ but also in theoretical resources published after him. In this paper, it was attempted to prove some claims that will generally eliminate this uncertainty
%K Perde
%K Makam
%K Ni£¿ab£¿rek
%K Geleneksel T¨¹rk M¨¹zi£¿i
%K Makam M¨¹zi£¿i
%K Edvar Gelene£¿i
%U http://dergipark.org.tr/ejmd/issue/41768/504277