Then Sadikkara's suggestions are a good start, for instrumental music especially. However, it is pretty important to keep in mind that makam music has changed throughout the centuries, so while the modern repertoire can be very nicely played with this type of performance practice, pre-19th century works do not function the same way.
A demonstration of this:
The two pieces I have attached are, in fact, the same piece. The reason they are different is that one had been transcribed soon after the composer (Derviş Mustafa) composed the piece, around the 1690s. However, the piece also got transmitted through oral transmission, changed with the aesthetic shifts of the next century before accidentally being transcribed again, and mistaken for a different piece, a century and a half later. Despite the fact that this is all one piece, these two can not, in any plausible way, be played at the same tempo, the same amount of melodic ornamentation, nor the same performance practice. (More on this on Owen Wright's paper, Mais qui était 'Le compositeur du Péchrev dans le makam Nihavend'?)
I understand that you want a straightforward answer, but that answer does not exist. Necdet Yaşar, Niyazi Sayın and İhsan Özgen were great masters of their craft, but they were not music historians. You can not play Baroque pieces and Modern pieces in the Western repertoire the same way, and this is quite a similar situation.
However, if you still want a relatively simple (yet incomplete) answer, go for the performance style of early 20th century masters, but increase the tempo of older pieces until they reach a similar level of melodic density as the new repertoire. I'd already given you an assortment of pieces from the 17th century, and this was my guiding principle in my suggested tempos.
