AI Summary & Key Takeaways
AI InsightThe procedural-procody relationship in those 20 works composed in “Composition” form and “Zencîr” type by Dede Efendi, Zekâî Dede and Dellâlzâde forms the content of this study.In this study, it is aimed to examine the harmony of the procedural-procody relationships in the works composed in the same prosody in Zencir procedural and to find out which procody pattern was used in those songs.The relationship between procody and procedural of the works of Dede Efendi, Zekâî Dede and Dellâlzâde composed in “Composition” form and “Zencîr” type, has been examined via the current notes and the songs belong to the examined works were presented as syllables placed in templates where the main pattern of the type placed over the velvele of the drums.As the conclusion of the study, it is observed that in those works composed by Dede Efendi, Zekâî Dede and Dellâlzâde in Zencîr procedural, usually songs which have the same procody were selected and usually syllable distribution of the works composed in the same procody and also Devrikebîr (28 times) and Berefşan (32 times), the 4th and the 5th chains of Zencîr procedural taking part in the last 60 times of the chantings (lâfzî, îkâî).
📌 3 Key Takeaways
Abstract
The pattern and aruz rhythm relationship in twenty works which have “Composition” forms and “Zencîr” types of Dede Efendi, Zekâî Dede and Dellâlzâde, the great composers of Turkish Classical Music, are the subject of this study. The procedural-procody relationship in those 20 works composed in “Composition” form and “Zencîr” type by Dede Efendi, Zekâî Dede and Dellâlzâde forms the content of this study.In this study, it is aimed to examine the harmony of the procedural-procody relationships in the works composed in the same prosody in Zencir procedural and to find out which procody pattern was used in those songs.The relationship between procody and procedural of the works of Dede Efendi, Zekâî Dede and Dellâlzâde composed in “Composition” form and “Zencîr” type, has been examined via the current notes and the songs belong to the examined works were presented as syllables placed in templates where the main pattern of the type placed over the velvele of the drums.As the conclusion of the study, it is observed that in those works composed by Dede Efendi, Zekâî Dede and Dellâlzâde in Zencîr procedural, usually songs which have the same procody were selected and usually syllable distribution of the works composed in the same procody and also Devrikebîr (28 times) and Berefşan (32 times), the 4th and the 5th chains of Zencîr procedural taking part in the last 60 times of the chantings (lâfzî, îkâî).
Özet
Klâsik Türk mûsıkîsi’nin büyük bestekârlarından Dede Efendi, Zekâî Dede ve Dellâlzâde’ye ait “Beste” formunda, “Zencîr” usûlündeki 20 eserin usûl-arûz vezni ilişkisi çalışmanın konusunu oluşturmaktadır. Bu çalışma ile “Beste” formunda, “Zencîr” usûlünde bestelenmiş 20 eserin usûl-arûz vezni ilişkisi yönünden birbirleriyle uyumunun incelenmesi, incelenen eserlerdeki güftelerde en çok hangi arûz kalıbı ya da kalıplarının kullanıldığının ortaya konulması amaçlanmıştır. Dede Efendi, Zekâî Dede ve Dellâlzâde’nin “Beste” formunda, “Zencîr” usûlündeki eserlerine ait güfte vezinleri ile bestenin usûlü arasındaki ilişki mevcut notalardan incelenmiş ve incelenen eserlere ait güfteler, usûlün ana kalıbı ile kudüm velvelesi üst üste gelecek şekilde yazılmış şablonlara heceler halinde yerleştirilerek sunulmuştur. Çalışma sonucunda, “Zencîr” usûlü ile bestelenen eserlerde Dede Efendi, Zekâî Dede ve Dellâlzâde’nin, genellikle aynı vezne sahip güfteleri kullandığı, bu usûlle bestelenen aynı vezindeki güftelerin vezne bağlı hece dağılımlarının büyük ölçüde aynı olduğu, incelenen eserlerde “Zencîr” usûlünün 4. ve 5. halkasını oluşturan “Devr-i Kebîr” (28 zamanlı) ve “Berefşan” (32 zamanlı) usûllerinin bulunduğu son 60 zamanın terennüm bölümlerini oluşturduğu görülmüştür.