Zekâî Dede’ni̇n Lenk Fahte Usûlündeki̇ Nakiş Bestesi̇ni̇n Usûl-Arûz Vezni̇ İli̇şki̇si̇ Açisindan İncelenmesi̇ Ve Makamsal Anali̇zi̇

Abstract

Composers of Turkish music have often chosen poems in their compositions written with the prosody wezni in accordance with the determined tempo, indicating patterns for each tempo. Thus, the relationship between tempos of the Meshq system is important and needs to be understood. In this review, 17 works were examined in the tempo of Lenk Fahte. It was determined that the wezni of 13 works was "Mef'ûlü/Fâ'ilâtün/Mef'ûlü/Fâilâtün". The work in the form of the Naqsh Composition is designated as an exemplary work in the context of the tempo-prosody wezni relationship in the Lenk Fahte tempo, in the Sûzinâk Maqam, because the composer, Zekâî Dede Efendi, is also a kudüm player. As Aksut (1993:217) stated, he used Lenk Fahte to perfection, not seen in any other composer. The work was analyzed from a Maqam point of view after analyzing the tempo-prosody wezni relationship.