Author
Ali Tan
Publication Place
Mardin Artuklu University -
Mardin Artuklu University
Subject
Mukaddime, 2010-01, Vol.1(1), p.199-232
Type
Book
Language
ara,tur
Digital
Yes
Manuscript
No
Library
Leitir Library
Library Asset ID
ISSN: 1309-6087, EISSN: 2459-0711
Record ID
cdi_doaj_primary_oai_doaj_org_article_a284b1fbcc1c452ea43cb216a6639ec6
Library Location
DOAJ Directory of Open Access Journals
Notes
Çargâh, one of the rare modes of our music, was previously composed of complete frets in the historical process. As determined in this article, today's repertoire of the çârgâh maqam, whose sabali descriptions have been seen since the 15th century, is not as rich as its traditional theory. But it has been accepted as the basic scale of our music. While it was accepted as the basic sequence, its different uses were ignored; The sabali form was seen only as a transition, its expressive power was taken away and its boundaries were narrowed. In this article, we will especially focus on the çargâh with nikriz, which is one of the overlooked uses of the çargâh maqam. This type of çârgâh is not even mentioned as a transition in the current system. The aim of the article is to compose the nikrizli çargâh as a maqam and to present it with its examples and features.
Detaylı Başlık
TÜRK MUSİKİSİNDE NİKRİZLİ ÇÂRGÂH
