EXTENDED ABSTRACT

Introduction Hatay, located in the Mediterranean region, is a unique city distinguished by its historical depth, geographical location, and multicultural demographic structure. Having hosted numerous civilizations such as the Hittites, Persians, Romans, and Ottomans, the city is regarded as a center of tolerance where diverse belief systems and cultural practices have coexisted for centuries. This cultural diversity is profoundly reflected in the region's musical heritage. The folk music of Hatay bears traces of Gaziantep, Rumeli, Çukurova, and Arab musical cultures, resulting in a rich repertoire that includes modal structures rarely seen in standard Turkish Folk Music (THM), such as Hicazkâr and Hüzzam, alongside common scales like Hüseyni and Hicaz.
In the academic analysis of Turkish Folk Music, the term "ayak" is traditionally used to describe melodic structures. However, this concept can be ambiguous and scientifically insufficient in certain modern contexts. This study adopts the terminology and scale systems of Traditional Turkish Art Music (GTSM)—specifically the concepts of makam, tetrachords, and pentachords—as a more systematic method for analyzing THM works. The primary aim of this study is to identify and analyze the musical characteristics of Hatay folk songs that exhibit the features of Uşşak, Kürdi, and Sabâ makams. By doing so, it seeks to contribute to the systematic classification of THM works and demonstrate the applicability of GTSM terminology in folk music analysis.
Methodology This study employs a descriptive survey model, a qualitative research approach designed to describe existing situations as they are. The universe of the study consists of verbal and rhythmic folk songs from the Hatay region included in the Turkish Radio and Television Corporation (TRT) repertoire. The sample group was purposively selected to include works that exhibit the modal characteristics of Uşşak, Kürdi, and Sabâ makams.
Data collection involved a review of the TRT repertoire and consultation with experts in Traditional Turkish Folk and Art Music. The analysis was conducted using the makam analysis method utilized by Pelikoğlu (2012), which involves comparing the tetrachords (4’lü) and pentachords (5’li) found in folk songs with the theoretical scales of Traditional Turkish Art Music. Each selected folk song was analyzed phrase by phrase to determine its melodic progression (seyir), decision tones (karar), and rhythmic structure (usul).
Findings The screening of the TRT Hatay repertoire identified 26 works across 11 different makam scales. From this pool, four specific folk songs representing the Uşşak (2), Kürdi (1), and Sabâ (1) makams were selected for detailed analysis.
1. Kürdi Makam Analysis: The folk song "Altın Tasta Gül Kuruttum" was analyzed. The study found that the song's range fully covers the 8-note scale of the Kürdi makam (Kürdi tetrachord on La + Buselik pentachord on Re) as defined in GTSM. Written in a 9/8 compound rhythm (2+2+2+3), the melody exhibits the characteristic structures of the Kürdi family, potentially aligning with Acem Kürdi due to the emphasis on the Fa (Acem) pitch.
2. Sabâ Makam Analysis: The song "Damdan Dama İp Gerdim" was examined. The analysis revealed that the melody utilizes the first five notes of the Sabâ makam scale. While the full expansion and "seyir" of the classical Sabâ makam were not fully present due to the song's short form, the tonal structure matched the Sabâ scale. The song is notated in an 8/4 compound rhythm.
3. Uşşak Makam Analysis: Two songs were analyzed: "Al Mendili" and "Hey Güzel Han".
o "Al Mendili" (4/4 rhythm) is composed using the first four notes of the Uşşak scale (Dügâh, Segâh, Çargâh, Neva).
o "Hey Güzel Han" (6/4 rhythm) utilizes the first five notes of the Uşşak scale along with the leading tone (Sol/Rast). Although these songs do not exhibit the full melodic expansion typical of Art Music, their tetrachord structures and cadences on La (Dügâh) align perfectly with the Uşşak makam.
Conclusion The study concludes that the modal characteristics of Hatay region folk songs can be effectively analyzed and classified using Classical Turkish Music terminology. The analysis of "Altın Tasta Gül Kuruttum", "Damdan Dama İp Gerdim", "Al Mendili", and "Hey Güzel Han" demonstrates that these folk songs share the same fundamental scale structures (Uşşak, Kürdi, and Sabâ) as Art Music, despite differences in melodic progression complexity and form. This confirms that the distinct classification between "folk" and "art" music terminologies can be bridged through theoretical analysis, supporting the view that both genres belong to a unified Turkish musical heritage. The study suggests that using makam terminology provides a consistent and scientific framework for documenting the rich musical diversity of the Hatay region.