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Makam
Makam (pl. makamlar; from the Arabic word ) is a system of melody types used in Turkish classical music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'') and melodic development (''seyir'').〔Beken and Signell 2006〕
Whether a fixed composition (''beste'', ''şarkı'', ''peşrev'', ''âyin'', etc.) or a spontaneous composition (''gazel'', ''taksim'', recitation of ''Kuran-ı Kerim'', ''Mevlid'', etc.), all attempt to follow the melody type.
== Geographic and cultural relations ==
Turkish makam's closest relatives include maqam in Arab music and echos in Byzantine music. The Turkish makams, the Arab maqams and the Byzantine echos related to the Greek texts and works of music that Arabs translated and developed from the musical theory of the Greeks (i.e. ''Systema ametabolon, enharmonium, chromatikon, diatonon'').〔Habib Hassan Touma - Review of ''Das arabische Tonsystem im Mittelalter'' by Liberty Manik. doi:10.2307/〕 Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman Palace in Istanbul and influenced Turkish Ottoman music. More distant modal relatives include those of Central Asian Turkic musics such as Uyghur music, muqam and Uzbek music, shashmakom. The raga of (both North and South) Indian classical music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans.〔Shupo, Sokol, ed., ''Urban Music in the Balkans''. Tirana:ASMUS, 2006〕 All of these concepts roughly correspond to mode in Western music, although their compositional rules vary.
The rhythmic counterpart of makam in Turkish music is usul.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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