Esthetics Of Improvisation In Turkish Art Music

Esthetics Of Improvisation In Turkish Art Musicauthors Karl Signel

Esthetics of Improvisation in Turkish Art Music Author(s): Karl Signell Source: Asian Music, Vol. 5, No. ), pp. 45-49 Published by: University of Texas Press Stable URL: . Accessed: 29/01/:23 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive.

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In Turkish classical music, improvisation is a fundamental and highly esteemed art form that reflects both technical skill and aesthetic sensibility. The improvisational practice, notably exemplified in taksim (improvisational solos), serves as a critical measure of a musician's mastery and originality. This paper explores the aesthetic principles underlying improvisation in Turkish art music, focusing on key characteristics such as intervallic structure, tessitura, melodic progression, stereotyped phrases, and modulation, as elucidated by Karl Signell.

Turkish makam music is characterized by a complex modal system that demands precise intonation, adherence to melodic progression, and expressive sensitivity. Improvisers are judged by their ability to craft impromptu compositions that not only conform to the technical constraints of a makam but also reveal personal creativity. Signell emphasizes that the act of improvisation in this tradition is a fine balancing act between disciplined adherence to modal rules and spontaneous artistic expression. Musicologists and performers alike regard this balance as central to the esthetic quality of a taksim.

One of the core components of Turkish makam music is the intervallic structure, which incorporates microtonal inflections that differentiate one makam from another. Signell discusses that a performer’s inability to accurately render these microtones is a common cause for judgmental criticism among peers. For instance, the makam UMAK (or HUMAQ) has characteristic intervals that, when played in a strictly classical style, demonstrate precise intonation, whereas a nightclub style may distort these intervals, diminishing the aesthetic integrity of the improvisation. Authenticity in intonation thus becomes a critical factor in judgment, as it reflects both technical control and adherence to makam tradition.

Another essential aspect is the makam's seyir, or melodic progression. Different maqams emphasize specific tonal centers or degrees, and improvisers must execute these progressions correctly to preserve the makam's identity. Signell provides an example of a ney player who emphasizes the fifth degree in the makam PENgGAH, contrary to the correct emphasis on the third degree, resulting in a mistaken modality akin to another makam, SAZKAR. Such mistakes are readily identified by experienced musicians, illustrating that fidelity to the makam's seyir is a key aesthetic criterion.

In addition to intonation and progression, tessitura—or the pitch range of a makam—is crucial. Each makam occupies a particular tessitura, and confusing those of similar scale but different pitch levels is frowned upon. For example, the relationships between HICAZKAR-KATIRDI and MUHAYYER-KITRDI exemplify this: despite their similar scales, their differing tessitura means that an inadvertent transposition, such as a performer playing MUHAYYER-KITRDI at HICAZKAR’s pitch, compromises the authenticity of the improvisation. Musicians recognize that such distinctions are subtle yet vital, embodying the expressive and aesthetic nuance of Turkish makam tradition.

Furthermore, the creative aspect of improvisation involves the use of characteristic motives and phrases. Musicians typically develop a stock of recognizable motifs associated with each makam. Originality emerges when performers craft succinct, beautiful motifs that contribute to the improvisation’s aesthetic appeal. Signell notes that the greatest respect is shown when a musician borrows a phrase from a peer, integrating it seamlessly into his taksim, often at cadential points. These cliches serve as building blocks but require mastery and artistic discretion in their deployment. An improvisor’s ability to innovate within this repertoire, by producing aesthetically pleasing motives or modulating smoothly to other makam(s), distinguishes superior performers from mere technicians.

Modulation in Turkish makam improvisation is a sophisticated art. Transitioning from one makam to another requires careful planning and execution to maintain coherence and aesthetic value. Signell illustrates that successful modulation involves both a logical, witty turn and an element of surprise. One example involves a musician using the upper tonic of the home makam as a pivot point for a modulation to a different makam, eliciting admiration. These modulations not only display technical skill but also serve as expressive, improvisatory elements that contribute to the overall aesthetic effect.

Additional esthetic criteria extend beyond the technical aspects. Tension and resolution, proportioned phrases, idiomatic instrument use, and rhythmic interest also influence judgments of quality. While these factors are more subjective, their combined effect is perceptible when listening to a complete taksim performed by an accomplished artist. Quality improvisation involves a delicate interplay of technical mastery, emotional expression, and intellectual wit, reflecting the profound aesthetic values of Turkish art music.

In conclusion, the esthetics of improvisation in Turkish art music are deeply rooted in a tradition that values precise intonation, faithful adherence to modal progression, subtle tessitura distinctions, original yet recognizable motifs, and inventive modulation. Signell’s analysis underscores that mastery of these elements, coupled with artistic innovation, forms the foundation of a revered improvisational art that continues to flourish in contemporary Turkish musical practice. Through careful listening and scholarly understanding, one can appreciate the rich aesthetic fabric of Turkish makam improvisation that elevates it beyond mere technical exercise to a profound artistic expression.

References

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