Akademik Veri Yönetim Sistemi
Yegah Musicology Journal, cilt.8, sa.2, ss.780-818, 2025 (Scopus)
There is no theoretical infrastructure for the Uşşak makam in the theoretical and practical history of Turkish Music. This situation causes problems such as "lack of prior knowledge" and "misconceptions" in explaining and learning the concept of Uşşak with the most accurate information. It is known that Uşşak makam has been used with concepts such as gender, layer, fourth, fifth, circle, fret and maqam in various sources related to music theory throughout the historical process. Safiyüddîn Abdülmü'mîn Urmevî (1216-1294) defined Uşşak as a layer, quadruple consisting of Tanînî-Tanînî-Bakiyye (TTB) intervals, and then as a circle, starting from the 13th century. These functions were abandoned in the edvârs and treatises written after the 15th century, and over time it was determined that the makams "Nevrûz" in the 13th century, "Rekb/Çargâh-ı Rekb" in the 15th century, "Dügâh-ı Kadîm" and "Hûzî" were used as the makam "Uşşak" in the 18th century and have survived to the present day. In other words, although the name Uşşak has remained the same for centuries, it is understood that its melodic structure has constantly changed and transformed, reaching the present day. In this study, qualitative data-based, relational scanning, document analysis and literature review methods were used in order to reveal the historical change process of Uşşak makam in line with the findings obtained from theoretical sources. With this method, the truths about the makam were determined and explained based on the approaches and classifications used by theorists while explaining the Uşşak makam and the practical applications of the composers.