The Historical Meanings and Functions of the Qadim and Jadid Distinctions in Makam Names
The theoreticians of Ottoman (or classical Turkish) music defined some makams and in their compound forms with the new names they created by adding certain adjectives to the name of a known maqam. Based on these theoreticians’ explanations, the adjectives added to a makam name are understood to have...
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| Format: | Article |
| Language: | English |
| Published: |
Istanbul University Press
2024-06-01
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| Series: | Konservatoryum |
| Subjects: | |
| Online Access: | https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/12B6260F5FC140D49B74E83DBDC6AC05 |
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| Summary: | The theoreticians of Ottoman (or classical Turkish) music defined some makams and in their compound forms with the new names they created by adding certain adjectives to the name of a known maqam. Based on these theoreticians’ explanations, the adjectives added to a makam name are understood to have usually had a specific melodic purpose. In this context, the study aims to examine the purposes for which the adjectives of atîk [old, ancient], kadîm [ancient], cedîd [fresh], eski [old], and yeni [new] were used in makam names and also questions the possibilities these makam names can provide in understanding the processes of change in the theoretical tradition. In line with this, the study has searched the makam names found in theoretical sources based on three different makam catalog studies and identified the makams with these aforementioned adjectives in their names. The study then analyzes and compares the definitions of the identified makams with other closely related makams in terms of what variations occurred to reveal the purposes of these adjectives. In accordance with the findings, the study has concluded these adjectives to have been used in makam names to emphasize the historical context of the makam, its forgotten status in terms of performance, or its characteristic of being newly invented. The study also reveals these makams to provide important clues for understanding the various characteristics of theoretical models, the theoreticians’ approaches, the evolution of makams, and the interaction between the fields of performance and theory. |
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| ISSN: | 2618-5695 |