Investigation of the use of cenber usul and Zaharya's cenber murabbas in usul-aruz and Turkish music education

This research includes the determinations made regarding the examination of usûl Çenber in Turkish music education and Zaharya's Çenber murabbas in terms of usûl-arûz meter. Out of 19 compositions of Zaharya that have reached today, 13 are in the form beste, and 8 of them are in the usûl Çenber. In the research, the definition, measure and application of the usûl Çenber were mentioned, and Zaharya's murabbas in the usûl Çenber were examined in terms of style and form, and at the same time, the correct spelling of his lyrics was reached, their meters were determined and the Turkish explanations of the lyrics were made. The lyrics magazines in which the lyrics are located and the pages they are found in, the manuscripts and their places in the printed divan are also shown in the footnotes. All the note copies of Murabbas that could be reached from various archives and sources were collected, and the copies that would constitute a source for the research were determined. Afterwards, the copies were compared with each other and the differences in the placement of the syllables were determined. These differences are written separately for each copy. After this stage, as a result of the placement of the syllables in the copy, which was taken as the basis, into the shapes prepared according to the usûl-arûz meter and the comparison of the copies, the places where the syllables were thought to be were shown and interpreted on the figure. It was seen that Zaharya preferred the usûl Çenber in his compositions. Another remarkable aspect of the research is to reveal the common features of Zaharya's Çenber murabbas in terms of their stylistic features and the striking elements in the processing of the murabba's chant. The research has been prepared with the aim of revealing all these issues and the differences in the placement of the syllables of the lyrics in the music copies of the composer's Çenber murabbas that have survived to the present day. In the research, it was tried to determine whether there was any change in the placement of the syllables under the note in Zaharya's murabbas in Çenber style, the note copy of the works based on the research and the other copies examined were evaluated by comparing them. In the research, interview technique was applied within the scope of qualitative research method and the obtained data were interpreted with document analysis and descriptive analysis. Four semi-structured interview questions were asked to expert Turkish music educators regarding the usability of the analysis of the usûl-prosody relationship of the oral works constituting the sample group in Turkish music education. The obtained findings were analyzed descriptively and added to the thesis. As a result of the research, it has been seen that the syllable distributions of the lyrics in the same rhythm of Zaharya's Çenber murabbas are mostly the same. It has been determined that the syllable shifts that are thought to have occurred in the meşk process are not too many in the note copies of the murabbas, which are accepted as valid. Keywords: Zaharya, Usûl Çenber, Murabba, Beste, Arûz.