Author(s): NeÅe YeÅim ALTINEL ÃOBAN
In this study, 4 Suzidilara works of Selim III in Darulelhan Complete Works were analyzed through the graphical method. The aim of the study is to present the makam analysis of the works with both qualitative and quantitative data. The study included two compositions (one in Darbeyn Style and the other one in Hafif Style), one Heavy Semai and one Yürük Semai of Selim III in the makam Suzidilara in Darulelhan Complete Works. Two compositions (one in Darbeyn Style, the other one in Hafif Style), one Heavy Semai and one Yürük Semai of Selim III in the makam Suzidilara were considered. The makam progress of the works, flavors, scales and suspended chords are shown in the graph. Moreover, tables were created including the length of use, frequency and total number of the flavors. The data obtained were compared in respect of similarity and differences. Makam analyses were performed by making use of Hüseyin Saadettin Arel's system, which is generally accepted in Turkish Music education today. The results obtained generally complied with the description in Arel's system. It was found that the most frequently used (22.4%) and the longest (34.5%) flavor was the Rastta Çargâh flavor. It was assumed that the results of this study would bring a new approach to the classic analysis method of the graphical method, thus, it would be easier to perceive these works with an understanding from the smallest functional pieces towards the whole, and it would contribute to the performance.
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