NEŞET ERTAŞ'S FINGERPRINT IN THE HICAZ MAKAM: PITCH/FREQUENCY ANALYSIS

ABSTRACT This study examines the unique pitch and microtone structures in Neşet Ertaş’s renditions of the Hicaz makam, particularly as shaped by the Kırşehir region's musical traditions. Known as one of the most prominent figures in Turkish folk music, Neşet Ertaş brings a distinctive pitch configuration to the Hicaz makam, reinterpreting Kırşehir’s musical heritage with a modern approach. The objective of this study is to determine whether Ertaş’s music reflects a Kırşehir-specific interpretation of the Hicaz makam. To this end, the pitch choices Ertaş used in his Kırşehir-based performances are analyzed in detail. This analysis aims to show that the Hicaz makam in Ertaş's music embodies a localized interpretation, emerging as a unique modal understanding specific to the Kırşehir region. The study aims to contribute to Turkish music culture by analyzing the distinct variations of the Hicaz makam as observed in the Kırşehir region. Its scope is centered on examining the unique musical characteristics of Kırşehir, as presented through Neşet Ertaş’s music. While the universe of the study comprises works performed in the Hicaz makam within Turkish folk music, the sample consists of recordings of Kırşehir folk songs performed by Neşet Ertaş in the Hicaz makam. In the study, frequency analyses of the pitches and microtone values in Ertaş’s music were conducted using signal processing software, including MakamBox. Through this approach, the precise deviations in pitch and microtones used by Ertaş have been identified. Quantitative analyses provide numerical measurements of microtones, which are compared to the Arel-Ezgi-Uzdilek pitch system. In the qualitative analyses, Ertaş’s local performance style and characteristics within the Hicaz makam were interpreted alongside these findings.The study’s findings indicate that Ertaş’s music deviates from the Arel-Ezgi-Uzdilek system, presenting a Hicaz makam profile unique to the Kırşehir region. Particularly, the deviations in the pitches of si flat and do sharp reflect Kırşehir’s distinct musical character. For example, in practice, the si flat pitch is often executed with microtone values of 5.5 and 6 commas, which are not present theoretically, while variations from 3 to 4 commas are observed in the do sharp pitch. These findings reveal that Ertaş’s music is marked by entonations and melodic trajectories unique to the Abdal cultural tradition. The study concludes that Neşet Ertaş’s approach to the Hicaz makam reflects the musical richness of the Kırşehir region and reveals this regional identity through modern analysis tools. The study emphasizes the importance of preserving, analyzing, and incorporating regional musical variations into music education. It recommends increasing the number of music analyses focused on local variations, conducting more comprehensive frequency analyses, and developing tools like MakamBox for in-depth regional makam analysis. These suggestions support a broader perspective on the interpretation of regional differences in Turkish folk music and the preservation of cultural diversity within Turkish music. Ertaş’s music contributes a cultural and artistic value to Turkish music through its Kırşehir-specific interpretation of the Hicaz makam and serves as a vital source for the transmission of this heritage to future generations.