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The subject of this study is “Temporal Determination Method for Notation”, which is a newly introduced process for taking notes of free-style oral musical performances that applies different melodic textures at each performance and possesses a rhythmic texture that cannot be positioned into a specific rhythm patterns, such as the Adhān, the Qur’an and the Ghazal. During a literature research, no scientific guidelines were found for such a type of notation process of free-style oral musical performances. There seems to be no system up to date that has been assigned, defined and put forward academically on musical writing on the performing religious musical composition such as the Adhān, the Qur’an and the Ghazal. Therefore, this article argues on the basis of the hypothesis that the “Temporal Determination Method for Notation” depends a great extent on temporal reality when it is used for types of free-style oral musical performances. In this study where musical writing is essential, the questions concerning how to create a notation model through the reading of Surat al-Ikhlas as a case study and how to interpret the data obtained by the temporal proportioning of the crotchet and quaver note values, determined by the analyse of the rhythmic texture in the reading of the Surat al-Ikhlas, were considered. Primarily, a descriptive research method was adopted in this study where the Qur’an reading was scored, followed by a measurement of the duration of each syllable in the reading by an audio player utilising a millisecond play mode, and the formulation of the temporal proportions of the crotchet and quaver note values. Finally, the notation model was verified through demonstration in order to assess to what extent it works. The limits of the research were clearly defined in order to achieve vigorous results. Davut Kaya's reading of Surat al-Ikhlas, which was obtained from the YouTube website, is examined in this research. Only the proportion of the crotchet and quaver note values were made, and a very small numbers of dotted crotchet and semibreve notes were not included. Although the performer in this study reveals in his reading the characteristics of the Huzzam maqam in general, the characteristics of the maqam in terms of the subject of the research are not included. This research is based on the supposition that Davut Kaya has the ability to represent his field in the reading of the Qur’an and that he has sufficient technical equipment and proficiency in the recitation of the Qur’an. It is also implicit that the computer-assisted audio player software used in the research is going to provide accurate and reliable data. The reading of Surat al-Ikhlas, which was deliberated upon is scored with a notation software named Finale. The smallest syllable determined in the reading was accepted as a unit and its temporal equivalent was determined as a “quaver” note. The key signature of the maqam was not placed at the beginning of the staff, but shown in notation of the performance. The first line notation written with the G-Clef (Treble Clef) represents the tradition of Turkish Music notation. The second line, written as F-Clef (Bass Clef), is written according to Western Music notation, which is accepted as “La=440 Hz”. Expressly, the aim is for the studies in the field of Turkish Religious Music to be comprehensible all over the world by the use of both the G-Clef and F-Clef notation models. The total duration of the reading is given by including the silent periods between the verses and 23.39 seconds, which is given as the total recitation time of the whole reading in the relevant table in the comparisons and evaluations section, was determined by excluding the silent intervals. The reading consists of six sentences divided by five silent intervals. The average time for the smallest syllables, the basic unit detected in the rhythmic texture of the sentences, is 0.27, 0.28, 0.30, 0.31, 0.29 and 0.25 seconds, respectively. Therefore, it is agreed that this reading followed with a rhythmic attitude slowing down to the fourth sentence and a relative acceleration occurred in the tempo of reading along with the fifth sentence. It is ascertained that the total reading time is 23.39 seconds when the silent intervals between the verses of Surat al-Ikhlas are subtracted. When the rhythmic texture was analysed, it was found that the total equivalent of the syllables in the whole reading is 83 units. From this, it is understood that the temporal value of each unit is on average 0.28 seconds. When the syllables of dotted crotchet and semibreve seen in the reading are excluded, and the proportions of syllables’ durations to syllables’ numbers were made, it emerged that the rhythmic texture detected in the reading reflects the temporal reality at a rate of 100%. The average duration of syllables with quaver value is 0.29 seconds, and the average duration of syllables with crotchet value, which is considered to be twice the time, is 0.58 seconds. The ratio of these two periods corresponds exactly to the mathematical ratio between the half-pulse, which is the temporal equivalent of the quaver, and one pulse, which is the temporal equivalent of the crotchet. In the case of Surat al-Ikhlas, the research conducted on the extent to how the Temporal Determination Method for Notation reflects the temporal reality, the hypothesis is accurate and when the whole performance is examined, it is discovered that the method completely coincides with the temporal reality. |
