It is observed that there is a set of nuances among the definitions made in terms of key signature, maqam (mode) development, and used “cesni” in some maqams in Turkish music. One of these maqams is Hisârbûselik maqam. In this study, works in large forms that were composed in Hisârbûselik maqam were analyzed, and developments and cesnis constituting the maqam and the characteristic development of the maqam were examined. Accordingly, 6 works in Hisârbûselik maqam that consist of Beste, Agır Semâî and Yuruk Semâî belonging to İsmâil Dede Efendi and Zekâî Dede were analyzed. The notes of the works were adjusted by listening to the performances by authorities and renotated. Maqam analysis was conducted for each work, and the used cesnis and ratios of these were determined. Similarities and differences between the findings obtained in this study and definitions stated in the theoretical sources of Turkish music were identified. In addition, usages of maqams by two composers were comparatively analyzed in terms of cesni usage ratios. As a result of the study, it was observed that there is a set of nuances in terms of usages of maqams by these two composers through the definitions by theoreticians. Hereby, the features of Hisârbûselik maqam were reviewed with an understanding from performance to theory, and the structure of the maqam was tried to be displayed in a clearer way.
