Theoretical Foundations of the Turkish Music Modal System: A Comparative Study Based on Two Treatises

Özet

This study examines the theoretical structure of Ottoman music by analyzing İlm-i Edvâr-ı Mûsikî and Tercüme-i Risâle-i Mûsikî, two prominent works of Turkish music theory written in the fifteenth century. The research focuses on the systematic classification of maqams, āvāzes, shuʿbes, and terkībs, as well as their functional relationships within the theoretical framework of the period. In addition to modal structures, the study addresses concepts such as rhythmic organization, melodic expansion, and the role of compound structures in musical practice.

Furthermore, the works are examined with regard to their associations between music and extramusical elements, including time cycles, natural temperaments, human complexions, and astrological symbolism. These classifications reveal that Ottoman music theory was constructed as a comprehensive system in which musical practice was closely linked to cosmological and physiological considerations.

Based on textual analysis of the transliterated versions of the sources, this study demonstrates that Ottoman music theory cannot be understood solely as a technical sound system, but rather as a multidimensional intellectual tradition reflecting the cultural and scientific worldview of its time. In this respect, the analyzed works provide significant insight into both the theoretical foundations and the practical orientation of Ottoman musical thought.