Analysis of the Makam Ni？ab？rek from Edvar Tradition to the Modern Day

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 dügah pitch by Zühtü Suphi Ezgi (1935-1953) in the book titled Nazari ve Ameli Türk 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 Gürmeri？, ？smail Hakk？ ？zkan (1984) and Yakup Fikret Kutlu？ (2000). Yakup Fikret Kutlu？ included the statement of his teacher, Hüseyin Sadettin Arel, “none of the ？eds of rast makam have been used individually until today” in the book titled as Türk 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 dügah 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