GAB Akademi

Öz

This study aims to examine the piece Kâri Nevâî, which is believed to have been composed by Ali-Shir Nava’i, within the framework of the Arel-Ezgi-Uzdilek system in terms of its maqam characteristics. The study particularly focuses on identifying the tetrachord and pentachord structures used in the composition. Furthermore, by analyzing the seyir (melodic progression) of the piece, the research seeks to determine which Turkish maqam it most closely resembles, thereby drawing conclusions about the similarities and differences between compositions of Uzbek music and the Turkish maqam system. As a qualitative study, the document analysis method, one of the qualitative data collection techniques, was employed. Through this method, the score of Kâri Nevâî was obtained, and the maqam elements within the composition, such as tetrachords and pentachords, were examined. Additionally, this method was utilized to gather information about Nava’i and his approach to music. This study, divided into three sections, includes information about Nava’i’s life and literary personality in the first section. In the second section, Nava’i’s relationship with music is examined, evaluating his influence on the musical culture of his time and his connection with music in the court environment. In the final section, evaluations regarding the attribution of the piece titled Kâri Nevâî to Nava’i are discussed. The piece has also been transcribed into notation according to the Turkish music maqam system and analyzed in terms of its maqam characteristics. The results of the study reveal that Nava’i was an important contributor to the musical understanding of his time. Furthermore, the analysis indicates that the musical notation of Kâri Nevâî, believed to have been composed by Nava’i, differs from the Turkish music maqam system. However, when the composition was transcribed according to the Turkish music maqam system, it was observed that the tetrachords and pentachords within the Turkish sound system were utilized in the work. This study is expected to contribute to research on Nava’i, the musical culture of his era, and future studies on Turkish and Uzbek music.