%0 Journal Article
%T ANALYSIS OF THE FIRST PRELUDE OF BUSEL£¿K £¿Y£¿£¿N-£¿ £¿ER£¿F BY BOL£¿HENK NUR£¿ BEY IN TERMS OF MAQAM AND TRANSPOSITION
%A Alper Akdeniz
%J -
%D 2018
%X Bolahenk Nuri Bey, who composed religious and non-religious works, grown in the educational circle of the musical masters of the period such as Hammam£¿zade £¿smail Dede Efendi, Bestekar R£¿fat Bey, Dellalzade £¿smail Dede, and £¿eyh Mehmet R£¿za Efendi and was one of the most important composers in the field of Classical Turkish Music in the 19th century, has two hymns, one Sirto, four Kars, eleven Beste¡¯s, fourteen Sema£¿s, thirty-eight songs in 23 maqams, and also two works in the form of Mevlev£¿ Ay£¿n-£¿ £¿er£¿fi. Among those two works composed in the maqams of Buselik and Karc£¿£¿ar, the liturgy in the form of Buselik was performed in Yenikap£¿ Mevlevihane for the first time. In 1873 in £¿stanbul, he published a journal of lyrics including numerous compositions in eighteen maqams called ¡°Mecmua-i £¿ark£¿yyat, Karha and Nak£¿ha¡±, by the title ¡°Mehmed Nuri¡±. In this paper, the first prelude of Buselik Ayi£¿n-i £¿eri£¿fi by Bolahenk Nuri Bey was analyzed in terms of maqam and transposition. It is thought that this study will popularize the researches related to the perception of employing techniques and maqams used by Bolahenk Nuri Bey, the great Turkish composer, and to contribute to the young people who plan to receive Classical Turkish Music education in better understanding his musical identity
%K Bolahenk N£¿ri Bey
%K Mevlev£¿ £¿y£¿n-i £¿er£¿fi
%K £¿lk Pe£¿rev
%U http://dergipark.org.tr/jimeep/issue/40558/459488