Zekâî Dede'nin Kâr, Nakış ve Murabbâ Türlerindeki Eserlerinin Makâm, Usûl ve Biçim Yönlerinden İncelenmesi

Abstract

The aim of this study is to examine the structure of Zekâî Dede's pieces of the kâr, nakış, and murabbâ, considering the components of makâm, usûl, and form. The scope of the study includes Zekâî Dede's pieces of the kâr, nakış beste, nakış ağır semâî, murabbâ beste, and murabbâ ağır semâî. Case study model was used in the research. The data for the study were collected from the Hâfız M. Zekâî Dede Efendi Collection. Data analysis was conducted in two stages: form analysis and detailed melodic analysis. Firstly, all of the pieces were examined in order to determine the kinds of forms. In the second stage, a detailed melodic analysis of a sample piece from each form was conducted, leading to conclusions about the holistic structure of the piece in terms of its makâm, usûl, and formal components. Some findings are as follows: The pieces of the murabbâ beste and murabbâ ağır semâî did not differ in form, but were distinguished only by the usûl. In the nakış beste and nakış ağır semâî, in addition to differences in usûl, differences in the number of lines were also observed. While all of the murabbâs had a meyân-hâne, some nakışs did not have it. In pieces without a meyân-hâne, the second bend is called bend-i sânî. Melodic structure of the bend-i sânî is the same as first bend. The formal structure of the pieces of kâr were similar to nakış. However, they were longer in form and richer in terms of terennüm.