Publication:
Understanding of Segâh Pitch and Uşşak Maqam Progression Through the Lens of Niyazi Sayin's Taksims in Uşşak Maqam

dc.authorscopusid58990764200
dc.contributor.authorPinarbaşi, E.
dc.date.accessioned2025-12-11T00:32:28Z
dc.date.issued2023
dc.departmentOndokuz Mayıs Üniversitesien_US
dc.department-temp[Pinarbaşi] Emre, Türk Müziği Bölümü, Ondokuz Mayis Üniversitesi, Samsun, Turkeyen_US
dc.description.abstractThis article aims to explore the improvisational taksims by celebrated Turkish ney virtuoso Niyazi Sayın within the Uşşak mode, highlighting the nuances of the segâh pitch and the Uşşak mode's progression. The primary objective of this study is to scrutinize the distinct characteristics and structures of taksims executed in the Uşşak mode, as well as the utilization of the segâh pitch within this context. Employing a musical analysis approach, the article dissects audio recordings of Niyazi Sayın's taksims in the Uşşak mode. The attributes of the segâh pitch and the Uşşak mode will be discerned through the application of music theory and analytical methods to Sayın's taksims. Additionally, a comprehensive review of Turkish music modes and progression concepts will serve as the foundational framework for this study. Analysis results reveal notable similarities and differences in Niyazi Sayın's taksims within the Uşşak mode, particularly in the utilization of the segâh pitch and progression characteristics. These findings will be expounded upon in intricate detail, shedding light on the intricate relationship between the segâh pitch and the Uşşak mode within Sayın's taksims, and their profound impact on the understanding of musical progression. This research highlights Niyazi Sayın's significant contributions through his taksims in the Uşşak mode, enhancing our understanding of the segâh pitch and Uşşak mode progression. The analysis of Sayın's taksims unveils fresh insights into the utilization of the Uşşak mode and the segâh pitch, thereby enriching our knowledge within the realm of Turkish music. Moreover, this study establishes a solid groundwork for future investigations, encouraging more comprehensive examinations of Turkish music modes and the concept of progression. Specifically, a deeper exploration of taksims performed by esteemed masters like Niyazi Sayın will provide a broader perspective on Turkish music theory and mode comprehension. Furthermore, the integration of such analyses into Turkish music education will enable students to grasp modes and the intricacies of progression more profoundly. © 2023, Tolga Karaca. All rights reserved.en_US
dc.identifier.doi10.51576/ymd.1392887
dc.identifier.endpage480en_US
dc.identifier.issn2792-0178
dc.identifier.issue3en_US
dc.identifier.scopus2-s2.0-85190672261
dc.identifier.startpage467en_US
dc.identifier.urihttps://doi.org/10.51576/ymd.1392887
dc.identifier.urihttps://hdl.handle.net/20.500.12712/37194
dc.identifier.volume6en_US
dc.institutionauthorPinarbaşi, E.
dc.language.isotren_US
dc.publisherTolga Karacaen_US
dc.relation.ispartofYegah Musicology Journalen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectNeyen_US
dc.subjectNiyazi Sayınen_US
dc.subjectProgressionen_US
dc.subjectSegâh Pitchen_US
dc.subjectUşşaken_US
dc.titleUnderstanding of Segâh Pitch and Uşşak Maqam Progression Through the Lens of Niyazi Sayin's Taksims in Uşşak Maqamen_US
dc.title.alternativeNiyazi Sayin'in Uşşak Makamındaki Taksimleri Ekseni̇nde Segâh Perdesi̇ ve Uşşak Makamı Seyi̇r Anlayışıen_US
dc.typeArticleen_US
dspace.entity.typePublication

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