Abdülkadir Merâgî'ye Ait Camiu'l Elhan ve Makâsidu'l Elhan Adlı Eserlerde Yer Alan Makamların KArşılaştırmalı İncelenmesi

Karamahmutoğlu G.

I. Bilsel Uluslararası Aspendos Bilimsel Araştırmalar Kongresi, Antalya, Turkey, 24 - 25 February 2024, pp.611-622

  • Publication Type: Conference Paper / Full Text
  • City: Antalya
  • Country: Turkey
  • Page Numbers: pp.611-622
  • Istanbul Technical University Affiliated: Yes


ComparatIve AnalysIs Of The Maqams In The Works Of AbdülkadIr Merâgî Named Câmiu’l Elhan And Makasidu’l Elhan

When we look at the maqam music theory studies written in the Islamic geography in the XVth century, we see that they are generally concentrated around two main topics: Maqam Theory and Ikā. When these works are analysed, it is seen that in addition to verses and prayers, there are also hadiths indicating that music is permitted in Islam and a methiyya written to the person to whom the work is dedicated.

 The sound system is usually explained on oud strings. Information is given about the formation of sound and harmonious-discordant sounds. The elements that make up the maqam are explained. Information is given about Maqam, Şûbe, Âvâze, Terkîb, Devir. Instruments are also included in these works. In the works of Abdülkadir Merâgî, the most important theoretician and composer in the history of maqam music in the XVth century, this style is also present in general.

The aim of this study is a comparative analysis of the descriptions of maqam and maqam elements in Câmiu'l Elhan and Makâsidu'l Elhan, two of the six maqam theoretical works written by Abdülkadir Merāgī during his lifetime under the patronage of various sultans.

Keywords: Abdülkadir Merāgī, Cāmiu’l-elhān, Makāsidu’l-elhān, Theory Of Maqam Music