Özet:

In this study, the presentation of the usûls that have come up to date with different approaches in Turkish music usûl theory is emphasized and a new and original proposal is presented based on the existing approaches. The transformation of the expressions of maqams and usûls in circles according to the European notation approach, stands before us as the two most obvious examples in terms of both form and expression. In particular, the prevalence of the European notation approach and because of this prevalence, some confusions were observed and some suggestions for solution were presented. We put forward three different but interrelated usûls representations, which we named as ‘cyclical’ for the circular notation, ‘horizontal’ for the European notation approach, and ‘vertical’, which we designed inspired by the hand teaching method used in traditional teaching method. We classified rhythmic accents according to five different loudness as ‘very strong’, ‘strong’, ‘medium’, ‘weak’, ‘very weak’ and two different tones as ‘dum/low pitch’ and ‘tek/high pitch’. Within the scope of the study, we designed a new clef, which we called the ‘usûl clef’, and we preferred a three-line staff instead of the common two-line staff. We think that this study will contribute to Turkish music theory, studies related to the usûl and teaching of usûl.

Anahtar Kelimeler: