ANALYSIS OF THE USE OF NİHÂVEND-İ KEBÎR IN HAMMÂMÎZÂDE İSMAİL DEDE EFENDİ’S SULTÂNÎYEGÂH WORKS HAMMÂMÎZÂDE İSMAİL DEDE EFENDİ’NİN SULTÂNÎYEGÂH ESERLERİNDE NİHÂVEND-İ KEBÎR KULLANIMININ TAHLİLİ
Yegah Musicology Journal, cilt.8, sa.2, ss.902-922, 2025 (Scopus)
- Yayın Türü: Makale / Tam Makale
- Cilt numarası: 8 Sayı: 2
- Basım Tarihi: 2025
- Doi Numarası: 10.51576/ymd.1683595
- Dergi Adı: Yegah Musicology Journal
- Derginin Tarandığı İndeksler: Scopus
- Sayfa Sayıları: ss.902-922
- Anahtar Kelimeler: classical Turkish music, Hammâmîzâde İsmail Dede Efendi, maqam, Nihâvend-i Kebîr, Sultânîyegâh
- Ankara Hacı Bayram Veli Üniversitesi Adresli: Evet
Özet
The main elements that make up Classical Turkish Music are the maqams and their pitches, which are the most important components of these maqams. If these two important facets are not used together correctly and as they should be, problems begin to occur in the works that are tried to be performed. The qualified progress of this process, which ends with performance, depends on several rules. These rules continue to exist through theory books written in the historical process and the education system transmitted through meşk. A particular maqam is not an issue that can be evaluated independently in Classical Turkish Music. Even a maqam that is considered very “simple” to understand (referring to the simple maqams in the AEU system) can be learned by knowing of its many components and the pitches that make them up. The way to reach this information is to have a large number of works in the performer's repertoire. In this study, the relationship between the Nihavend-i Kebîr maqam in the works determined within the scope of the study and the Sultânîyegâh maqam, composed by Hammâmîzâde İsmail Dede Efendi himself, who has an important place in Classical Turkish Music, was interpreted through analysis in the context of being a component of the Sultânîyegâh maqam. In the study, it was understood that Dede Efendi's application of maqams to his works, contrary to the simplicity and minimalist attitude of his compositions, was complex and demanded knowledge, and was also based on having analysed the music of his predecessors very well. As a result of the analysis, it became clear that Dede Efendi skillfully used the Nihâvend-i Kebîr maqam as a component in his works composed in the Sultânîyegâh maqam. It was concluded that not the entire the Nihâvend-i Kebir maqam, but a specific segment of it, is an important component of the Sultânîyegâh maqam as an inseparable part and the raison d'être of the said maqam.