Abstract
Aim: This research investigates the relationships between the folk songs, which are the roots of choral music in Turkey, and the qualities in polyphony practices were questioned and the approaches with which they were polyphonic were investigated from a quantitative perspective. Method: Under the titles of melody and harmony of polyphonic works; The use of major-minor scales, pentatonic and maqam transitions, dynamic and expression terms, triad, multiplication, scoredorg, double-quadruple-quintet harmony were evaluated by quantitative analysis method, findings and results were obtained and interpreted. Polyphony practices in choral works, whose source is folk songs, have been researched with a comparative perspective. Findings: In order to eliminate the problems arising from modality while the works in which Turkish music maqam scales are used are polyphonic, different from the triple harmony system, which was defined by Kemal İlerici (1910-1986), it was formed by the overlapping of the quartets and based on the Hüseyni maqam. It was determined that the quartet harmony system was also used. Conclusion: Folk songs and polyphonic choral works that take them as a source show affinity in terms of musical characteristics. The words of the material have undergone few changes, some of them have been given a canonical structure, dynamic and expressive indicators have been added. Chromatic transitions, double, quadruple and quintuple intervals are used cyclically on SATB lines.
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