XV. A RESEARCH ON HİSAR MAQAM FROM CENTURY TO PRESENT
XV. YÜZYILDAN GÜNÜMÜZE HİSÂR MAKÂMI ÜZERİNE BİR ARAŞTIRMA XV. YÜZYILDAN GÜNÜMÜZE HİSÂR MAKÂMI ÜZERİNE BİR ARAŞTIRMA XV. YÜZYILDAN GÜNÜMÜZE HİSÂR MAKÂMI ÜZERİNE BİR ARAŞTIRMA

Author : Muhammet Sefa POLAT
Number of pages : 361-383

Abstract

XIII of the systematic theory, which forms the basis of the sound system of Turkish Maqam music. It is known to have been created by Safiyyüddin Abdulmümin Urmevi in the century. After Urmevi, Meragi used this system, developed it by adding the concept of branch to the system, and introduced this system to XV. century Anatolia edvar has delivered to the authors. While urmevi had twelve main authorities and six avases, Meragi added Twenty-four branches to this system, placing Hisar in tenth place among these branches. Thus, Hisar authority XV. since the beginning of the century, music has taken its place in our history. XV. in the century, Yusuf Kırşehri took Hisar into the avaze and began to be used as the seventh avaze of the system. Maqam journeys from the past to the present differ according to periods and nazariatists. Therefore, XV. from century to present, information and classifications about Hisar Maqam have been examined in nazari sources and manuscripts. In this research, it is aimed to compare the historical sources of Hisar and the works of Hisar which have survived from the Classical period with the information of Hisar Maqam and to reveal the line of change in the historical process of the Maqam and to create a detailed source on this subject. The research carried out a document analysis. As a result of this research, XIII. Safiyyüddin Abdülmümin urmevi, founder of the systemist school in the century, did not have a Hisar Maqam, however, in Kutbüddin-ı Mahmud Shirazi (d. 1311). it was the first time that Hisar authority took part in the sixth cycle, XV. in the century Meragi (d. 1435), in which he dealt with the sound system on the basis of twelve main maqams, six avases and twenty-four branches, and demonstrated Hisar Maqam within the branches, XV. In the century, Yusuf Kırşehri raised the number of avaze to seven and addressed Hisar as the seventh avaze, and also stated that Kucek should be decided in the same line as Meragi as the way of decision, the way of decision XVII.it continued into the century, XVIII. XIII of Hisar Maqam, where the kucek decision form was abandoned by the century, the (Zirgüleli) Hicaz element was found on Huseyni and the decision was made with Hisar-Çargah-Segah and Dügah curtains without the use of Neva curtain.from century to present; Kucek (Saba) in Dügah + (Zirgüleli) Hicaz in Huseyni; In dügah, three main changes have been widely adopted and used, namely not Kuçek (Dügah-Segah-Çargah) + Huseyni Hicaz; in Dügah, Huseyni + Huseyni (Zirgüleli) Hicaz.

Keywords

Hisar, Turkish Makam Music, Manuscript(Edvâr), Makam

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