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Crimean Tatar maqam: from theory to modern practice

The author develops a new approach to the analysis of the traditional music of the Crimean Tatars based on the material of such a phenomenon of modern musical practice as mevlud. The essence of this approach is that the musical side of mevlud is analyzed from the point of view of the Crimean Tatars' own fret system, defined by them in terms of the maqam theory. The mode system of Crimean Tatar music was historically conceptualized in the XV—XVIII centuries in the Old Ottoman language in the concept of maqamat. Authoritative sources of the XVIII century (Abdülbaki Nasır Dede, Kantemiroğlu) have come down to us, the study of which helps to understand the wide range of musical activity of the Crimean Khanate period. The latter covers both diverse forms of palace music making and cult music. This historical time was marked by the peak of the development of various genres in the Crimean Tatar musical heritage. The proposed reconstruction of the fret system also includes the work of such modern scientists as Ekrem M. Karadeniz, Suphi Ezgi and others.