Yegah Müzikoloji Dergisi

Öz

ABSTRACT
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 aspects are not used together correctly and as they should be, problems begin to occur in the works that are tried to be performed. The healthy progress of this process, which ends with performance, depends on a number of 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 makam that is considered very “simple” to understand (referring to the simple maqams in the AEU system) can be perceived by having knowledge 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 relation of Nihâvend-i Kebîr maqam in the works that Hammâmîzâde İsmail Dede Efendi, who has an important place in Classical Turkish Music, composed in Sultânîyegâh maqam, which is his own composition, and which are included in his classical takım and determined within the scope of the study, is analyzed and interpreted in the context of being a component of 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 analyzed 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 makam as a component in his works composed in the Sultânîyegah makam. It has been concluded that not the entire the Nihâvend-i Kebir makam, but a specific segment of it, is an important component of the Sultânîyegah makam as an inseparable part and the raison d'être of the said makam.