Abstract:

The Turkish Music Theory is divided into two periods: before and after Ezgi-Arel. The theory before Ezgi-Arel is known as "Historical Turkish Music Theory" while the Turkish music theory following this period is named after Ezgi-Arel. The Ezgi-Arel theory departs from the historical Turkish music theory in many ways including the way of explaining the method, the terms used as well as the functioning. “Usul Theory”, “Mode Theory” and “Sound System” are the leading elements separating the Historical Turkish Music Theory from the Ezgi-Arel Music Theory. The present study examines the “Usul Theory” and uses historical description and theoretical comparison methods. The literature review on “Usul Theory” used in the work reflects a wide range of resources beginning from 9th century till present day. The reviewed works allow exhibiting the information related to usul at three fundamental steps. These steps are as following: 1) Scholars and theories related to the establishment of Historical Usul Theory, 2) Scholars and related theories those both being devoted and contradicting with the historical usul practice. 3) Scholars and related theories that show complete departure from the historical theory. Arising from the classification above, this study presents the definitions related to usul by the music scholars; evaluates the use of terms ika, devir and usul; introduces the emplacement of the term usul and the alienation based on the term measure; classifies and tabulates comparatively the ikas and usuls assigned by the various music scholars and evaluates the developments in Sakîlu’l-evvel (Nim Berefşan) and Düyek, ikâ and usuls analysisng them from Safiyyüddin till present days using the name, darb, nakre, writing and explanation methods.

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