Abstract

In maqam terms, theoretical studies from the ninth century up to the present in the theoretical context contain explanations with different approaches in terms of classification. Containing different insights, all studies constitute a collection. The differences in their contents may correspond to model of a particular understanding or ecole (Pythagorean, Systemist School, etc.). When the models are examined, it is seen that there are various initiatives and approaches, but there is a constantly increasing concept of maqam and composition. Folk music takes attention with its structures which are not connected to any theory. It usually includes melodies designed by people who are called âşık or bards. For this reason, apart from the traditional names given by the public (as ayak), the sequential pitch (type of maqam, maqam or scale) that emerge with the help of the pitch used in the melodies are defined by the experts (as maqam) who have studies on the subject. However, it is seen that a common method is not used in such studies and that the theoretical fundamentals are not discussed in a historical perspective. Today, there are many works written or said on folk music (articles, books, symposiums, etc.) about the maqams and ayak. Although the subject of ayak is taken as the common idea in folk music studies, it is known that there are different opinions which are suggested to be the maqam on some subjects. In the study, along with the literature review, pitch analyzes shown in folk music samples and thought to be used in instruments today are included. The analyses were based on approximately four thousand recorded folk notes (possessing lyrics or not) from the archives of Turkey Radio Corporation (TRT). The method of the study is to classify the analyzed works according to a certain pitch order by considering folk melodies samples. The scope of the study covered TRT folk music repertoire and analyses were carried out with the performance samples based on all provinces rather than the regions. The analyses have been initially based on tonic pitches, and a classification was made by ignoring the high or low pitches which were sorted in a sequence according to the tonic pitch. The pitches used in the work were then graded and checked to see if they took any changers (sharp or flat). It is anticipated that the described examples will provide a general idea for further classification.