This paper attempts to highlight the necessity of establishing a connection between performance and theory in the field of Ottoman Urban Music. In specific, it is crucial for theoretical thought to have a direct reference to and depend on interpretative practices and repertoire. In the contemporary theory of Ottoman Music phenomena, one can witness a contradiction between the description of Makams and their performance. In this paper, the phenomena that belong to the wider category of Segah are examined as case study. Thus, a more functional way of approaching and comprehending the aforementioned modal phenomena is proposed. Methodologically, the analytical model that is suggested draws numerous explanatory examples from masterpieces as well as historically important renditions (repertorial and improvisational), that belong to the family of Segah makam.

This paper attempts to highlight the necessity of establishing a connection between performance and theory in the field of Ottoman Urban Music. In specific, it is crucial for theoretical thought to have a direct reference to and depend on interpretative practices and repertoire. In the contemporary theory of Ottoman Music phenomena, one can witness a contradiction between the description of Makams and their performance. In this paper, the phenomena that belong to the wider category of Segah are examined as case study. Thus, a more functional way of approaching and comprehending the aforementioned modal phenomena is proposed. Methodologically, the analytical model that is suggested draws numerous explanatory examples from masterpieces as well as historically important renditions (repertorial and improvisational), that belong to the family of Segah makam.