TRT 1 Kur’an-ı Kerim’i Güzel Okuma Yarışması Tilâvetlerindeki Benzer Nağmelerin Tespiti Üzerine Bir İnceleme
A Study on the Determination of Similar Tunes of TRT 1 Qur'an Recitation Contest

Summary/Abstract: Due to the Prophet's recommendation to recite the Qur'ān with a beautiful voice, care has been taken to recite the Qur'ān with a beautiful voice until today, and in this process, mūsīkī (music) and maqām (a system of scales) have played an important role in terms of functionality. With the development of mūsīkī for centuries, the recitation of the Qur'ān has also developed in terms of performance, and various styles and attitudes have emerged. The Turkish attitude has been one of these attitudes, and many Turkish reciter (qāri) have contributed to the development of this attitude with their performances. In this context, at the beginning of the study, the definitions of attitude and style are emphasized, and the reciters who contribute to the development of the Turkish tilawat (recitation) are mentioned and their names are given. In order to identify the readers who can recite the Qur'ān beautifully, the Qur'ān Recitation Contest has been organized on TRT 1 since 2017, and as of 2023, the 7th season has been broadcast in Ramadan, as it is every year. In this study, the names of the day, week winners and finalists of the TRT 1 Qur'ān Recitation Contest in all seasons were included, the video recordings were listened and common tunes were determined. The links of the listened videos and the minutes of the tunes are given in the footnotes, and then detected tunes were notated. In this way, a sampling of the tune of melodic patterns in the interaction between the recitations is presented. In this context, the effect of the tune as a style and attitude has been observed and the notation has been used to concretize it. As a result of the notation, it was seen that tunes in the recitation of the Qur'ān are effective in improving the style and attitude, just like in other Turkish music genres. During the determination of the tunes, they were grouped in terms of maqām. In the groupings made, the classification was made on the basis of decisive tones. As a result of the study, mainly ʿushshāq, ḥijāz, rast, nihāwand and ṣabā maqām were encountered. It was seen that the ʿushshāq maqām was used the most among the maqāms and the notation of the tunes was done with the “Mus 2” program.

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