The Understanding of Huseyni and Ussak Maqams in Turkish Music Based on Asık Veysel's Sound Recordings

Abstract

This study examines the use of Hüseynî and Uşşak maqams in Aşık Veysel’s works, analyzing the relationship between individual performance style and maqam theory. It explores Veysel’s musical identity, his connection to traditional maqam structures, and his unique approach to performance. The research analyzes the frequency of pitches in Aşık Veysel’s works, melodic progressions, and microtonal structures. Selected pieces from the Kalan Music Archive were examined using MakamBox software, and pitch histograms and melogram graphs were generated. The results indicate that the Segâh pitch is frequently used, performed with different intonations than theoretical reference values, and that the melodic progressions predominantly exhibit a descending character. According to traditional theory, the Uşşak maqam has an ascending character, while the Hüseynî maqam is descending. However, in Aşık Veysel’s performances, all pieces were observed to follow a distinct descending trajectory. The strong emphasis on the Nevâ (Re) pitch significantly influences the overall structure, creating a character close to the Muhayyer maqam. Veysel’s use of the Segâh pitch with varied intonations suggests that he developed an individual interpretation independent of traditional maqam rules. This demonstrates how individual performance styles in folk music can expand the framework of maqam theory. In conclusion, Aşık Veysel’s works illustrate the dynamic relationship between theoretical knowledge and individual performance in Turkish folk music. His unique interpretation of traditional maqams highlights the openness of folk music to individual creativity. This study reveals the flexible nature of maqams, accommodating both traditional and personal interpretations, while providing insights for future research. © 2025, Tolga Karaca. All rights reserved.