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Thank you for the interesting information, @orkun zafer özgelen. Come to think of it, your initial remark about the ney being Nasır Dede's reference could by itself account for the fact that he didn't find it necessary to conceptualize and indicate Dik Kürdi as a separate note, even if this...

I am not interested in entertaining a bad faith discussion. What you've written betrays an agenda to engage in trivial arguments and the adolescent affair of roleplaying an authority to a stranger online. I hope you find someone else to do that with.

Hi @Sadikkara. Thanks for the reference recordings. Check with this recording of the same performer on the same instrument in avaz Shur (Hüseyni). It uses the same 2nd degree as your examples in Chahargah (Zirgüleli Hicaz) and Homayun (Hicaz). Note that while these modes are not equivalent...

Yes, I mentioned that the fret is a little on the flatter side, close to Uşşak perdesi, which helps retain the Hicaz feeling. I wrote "Segâh" for the sake of universal clarity, because it's the only term recognized in the Arel-Ezgi system. The point is that Iranian classical music doesn't...

Hi @Sadikkara, Thank you for your response. The recording you linked is an example of a more Western/Turkish intonation of Homayun, which is certainly used, especially in more modern Iranian music. However, I believe it to be an outlier in terms of classical music. Have a look at this video...

Hello, everyone. I am a maqam music aficionado and a Turkish oud player. I was wondering if anyone could help elucidate a certain issue I've been wondering about or point me to relevant sources on the matter. I've recently finished reading Walter Feldman's book Music of the Ottoman Court. It's...