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Abstract


MUSICAL ANALYSIS OF SIX ÂYÎN-İ ŞERÎF OF THE THREE COMPOSERS OF XVII. CENTURY

XVII. century constitutes one of the most important and delightful periods in terms of classical music history despite all the hitches faced by the Ottoman State in the state and society. The writing of the samples of musical works in the musical notes together with their information on their form, makam, usûl, composer, lyricist and musical instruments, allowing them to come until today, and the diversity of places such as enderun, mehterhane, nevbethane mevlevihane, where religious and nonreligious musical education and exercise were performed, and in parallel to this the rich range of form, makam and melody as well as the existence of great composers of the Turkish classical music such as Hafiz Post, Kutb-i nayi Osman Dede, Buhûrîzâde Mustafa Itrî, Kûçek Derviş Mustafa Dede and unique examples of their artistic, religious and nonreligious musical works made the XVII. century invaluable in terms of musical culture and history. In that century, invaluable works were set to music, which consist the fundemantals of religious music, particularly from religious musical forms such as divine music, tevşih, temcid, naat, miraciyye, sala and âyîn-i şerîf . In this study, âyîn-i şerîf of Kûçek Derviş Mustafa Dede in Bayati makam, which is the first mevlevi ritual whose composer is known, âyîn-i şerîf s of Nayi Osman Dede in Uşşak, Rast, Çargâh and Hicâz makams as well as âyîn-i şerîf of Buhûrîzâde Mustafa Itrî in Segâh makam will be analyzed with musical analysis methods, and by virtue of the results to be obtained, it will be tried to shed light on this period in terms of ritual's composing and makam.



Keywords
17th century, Mevlevi, Âyîn-i Şerîf (the ritual of Sufis), Analysis


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ISSN 2536-4642

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