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Experiments on the Relationship Between Perde and Seyir in Turkish Makam Music 323

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Experiments on the Relationship Between Perde and Seyir in Turkish Makam Music 323 322 Can Akkoç, William A. Sethares, & M. Kemal Karaosmanog˘lu EXPERIMENTS ON THE RELATIONSHIP BETWEEN PERDE AND SEYIR_ IN TURKISH MAKAM MUSIC CAN AKKOÇ AKAM IN TURKISH TRADITIONAL MUSIC The Middle East Technical University (METU) refers to a style in which each makam-type Ankara, Turkey M names a pitch structure (called perde) and/or specific patterns of motivic/temporal development WILLIAM A. SETHARES (called seyir). When hearing a makam performance, University of Wisconsin a listener will typically have access to more information than just the sound: the performer may be known, the M. KEMAL KARAOSMANOG˘ LU particular piece may be familiar, it may be recognized Yıldız Technical University, from a specific place or previous time. Thus the ‘‘elder’’ Bes¸iktas¸, Istanbul,_ Turkey in the ‘‘village’’ of the introductory quote may indeed correctly recognize the makam, but this identification ‘‘WHEN I WAS A KID, THEELDERSINTHEVILLAGECOULD might stem from extra-musical information and not TELL THE MAKAM OF A PIECE JUST BY LISTENING.’’ While necessarily directly related from the acoustic structure interviewing performers, enthusiasts, and experts in tra- of the sound itself. As will be shown in Experiment 1, ditional Turkish taksims (improvisations), variations of such extra-musical information is not necessary for cor- this comment were made many times. Some of the rect identification; expert listeners can reliably deter- respondents claimed to be able to identify the makam minethemakamfromaudiblefeaturesalone.This of a taksim, but others believed that this ability might leads to the second major question that is explored in now be a lost art. This paper documents a series of Experiments 2 through 4: which features of the perfor- experiments (based on caricaturized or skeletonized mance are key to the ability of an expert listener to taksim-like creations) designed to determine if it is pos- identify the makam? The experiments are structured sible to identify the makam from purely acoustical so as to investigate the relative importance of the perde features, and, when possible, to determine the relative (pitches) and the seyir (temporal motion) in the task of importance of the various audible features that may be identifying the makam of a piece. used to establish the makam. Two basic classes of fea- tures are investigated: perde (the set of pitches used in BACKGROUND the performance) and seyir (which relates to temporal Turkish makam music is primarily an oral tradition motion within the piece, for instance, repetitive or com- taught on a single instrument using a ney (an end blown mon motives or melodic contour). The experiments cane flute), a kemençe (a bowed stringed instrument), provide evidence that both kinds of features contribute the voice (hanende), or other traditional instrument. to the ability to recognize makams. Experiments that Learning typically occurs in a master-apprentice setting randomize the order of events show that pitch cues through extended repetition (mes¸k). There are (at least) (perde) are often adequate to allow accurate identifica- two major kinds of pieces: composed (beste) and impro- tion of the makam. In experiments where both pitch vised (taksim). Popular makam music is typically het- and temporal cues are present but conflict (for example, erophonic, rhythmic, and performed with percussion a piece in which the perde is chosen from one makam accompaniment; improvised forms are typically solo and the seyir from another), experts often favor the performances played with a flowing and relatively temporal information. unstructured rhythm. A makam can be viewed as Received: March 13, 2013, accepted April 5, 2014. a musical setting with (a) a well-defined underlying scale of pitches, and (b) a set of conventions that struc- Key words: Turkish makam recognition, AEU system, ture the temporal ordering of the pitches into melodic recognition of scale and key by experts, motif in Turkish lines. music, taksim (improvisation) The standard theoretical explanation for Turkish pitch sets is given by the ‘‘national theory of Turkish Music’’ Music Perception, VOLUME 32, ISSUE 4, PP. 322–343, ISSN 0730-7829, ELECTRONIC ISSN 1533-8312. © 2015 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. PLEASE DIRECT ALL REQUESTS FOR PERMISSION TO PHOTOCOPY OR REPRODUCE ARTICLE CONTENT THROUGH THE UNIVERSITY OF CALIFORNIA PRESS’S RIGHTS AND PERMISSIONS WEBSITE, HTTP://WWW.UCPRESSJOURNALS.COM/REPRINTINFO.ASP.DOI:10.1525/MP.2015.32.4.322 Experiments on the Relationship between Perde and Seyir in Turkish Makam Music 323 called the Arel-Ezgi-Uzdilek System (AEU) (Arel, 1968; Ezgi, 1933), which can be viewed as a 24-note set con- structed from Pythagorean commas, and which can be closely approximated by notes from the 53-tone-equal tempered system (Yarman, 2008). Empirical perde scales (in contrast to scales derived from theoretical considera- tions), have recently been investigated by taking pitch measurements on performances from renowned masters FIGURE 1. This cumulative histogram displays pitch clusters in eight (Akkoç, 2002; Bozkurt, Yarman, Karaosmanog˘lu, & taksims (improvisations) in the Us¸s¸ak makam and contrasts these with Akkoç, 2009). For example, Figure 1 shows the similar- the theoretical pitches shown by the tall vertical lines. The horizontal axis is given in cents with respect to the root at zero, the vertical axis is ities and disparities between the theoretically-derived the percentage of time spent on each pitch. Shades of gray correspond scale pitches and those measured in performance. to different octaves. While there remains controversy about the accuracy and applicability of the AEU classification to makam points, often coming after stereotyped motives.’’ Similarly, performances, both proponents and critics of the AEU the New Grove Online Dictionary (2013) describes seyir system agree that it is based primarily on pitch relation- as indicating ‘‘prescribed modulations and the general ships. Within the AEU system, more than a hundred shape of phrases, understood as either predominantly makams have been described and labeled as in Figure 2, upwards, predominantly downwards, or a combination which are drawn from Karaosmanog˘lu et al. (2009). The of both.’’ The New Grove article on mode credits Kante- music-theoretical information in Figure 2 is comple- mir (1698/2001) with defining a term for melodic progres- mented by a numerical representation in Appendix A sion, and comments that ‘‘the seyir spans a framework of that is used to quantify the interval-set relations tonal centers’’ that includes the root, the octave above the between the various makams. Recent work (Bozkurt, root, and other key tones. Gedik, Savacı, Karaosmanog˘lu, & O¨ zbek, 2010) suggests Conceiving of seyir as central to the notion of makam that automated classification of makams can be accom- subordinates pitch elements to temporal elements such as plished with considerable accuracy using only pitch- motives, patterns, and melodic contour. A recent study of histogram information. In terms of the introductory related Arabic improvisations (Ayari & McAdams, 2003, quote, it is reasonable to posit that it may be possible p. 159) shows ‘‘the melodic reductions of segments in to recognize the makam of a piece purely by listening a given maqam¯ reveal the nature of Arabic modes as carefully to the pitch relationships within the perfor- involving not just a tuning system, but also essential mance. Since perde is the Turkish word for tones or pitch melodico-rhythmic configurations that are emblematic clusters, we call this the perde hypothesis for makam of the maqam.’’¯ Confirming this view, our experts were recognition. asked (at the conclusion of the experiments) what they Others argue that the seyir (a complex of stereotyped listen for when trying to determine the makam. A typical motives, melodic signatures, and latent melodic possi- response was that of Expert 2 who said, ‘‘I listen for bilities) associated with each makam is crucial to its certain sound patterns, like this (singing) in Us¸s¸ak or like identity. Akkoç (2008) views seyir as a ‘‘journey between this (singing) in Hicaz.’’ Tanrıkorur (2005) states that pitch clusters forming the underlying scale of the host makam encompasses both a pitch structure and (unwrit- makam.’’ Castellano, Bharucha, and Krumhansl (1984) ten) rules for melodic progression that must be strictly observe that this is analogous to an Indian rag, which is observed by composers, and memorably states that characterized both by its scale and by the manner and a makam is 20% pitch and 80% seyir. We call this order in which the scale tones are combined. Thus the melodic or motivic notion that emphasizes the temporal rag in Indian music forms a basis on which melodic aspects of a makam the seyir hypothesis for makam composition and improvisation may occur. Similarly, recognition. the Turkish form exploits sets of scale tones and collec- tions of melodic figures, motives, and patterns that utilize those scale tones. For example, Beken and Signell (2006, RELATED LITERATURE p. 205) state, ‘‘Every instrumentalist chooses from among The domain of music psychology has only recently confirming, delaying, and deceptive elements to create begun to consider experimental work on the perception a taksim in a given makam. These elements may include of Middle Eastern music, and such studies are limited. general melodic direction, certain intervallic relation- Ayari and McAdams (2003) consider a segmentation ships, modulations, and most importantly, cadential paradigm that contrasts Arab listeners and European 324 Can Akkoç, William A. Sethares, & M. Kemal Karaosmanog˘lu FIGURE 2. Twenty-four makams that appear in this paper are represented in the AEU system. Special symbols are used to indicate the root, the dominant, and the leading tone. Many of the accidentals represent pitches that fall between the cracks of the Western musical scale. Makams may be characterized as the conjunction of an n-chord and an m-chord (where n + m = 9), for example, a tetra-chord and a penta-chord, as indicated by the grouping markers that connect the root and the dominant, and the dominant with the upper octave of the root).
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