Interaction of Turkish and Arabic music in example of "Harun Reşi̇d'i̇n Gözdesi̇" (Denani̇r)

In this study, original Arabic songs are composed by Zekeriya Ahmed, Muhammed Kasabji, Riyad el-Sunbati and adapted Turkish songs that composer Sadettin Kaynak composed in "Harun Reşid'in Gözdesi" (Denanir), are analyzed with method of comparative analysis structurally and "makamsal" and is studied interaction of Turkish and Arabic musics in terms of makam, style, orchestra and form. The Egyptian movie which is originally named "Denanir" is broadcasted in the name of "Harun Reşid'in Gözdesi" in 1941, in Turkey, is filmed by Egyptian director Ahmed Bedirhan (1909-1959) in 29 september 1940. Leading part of the movie is Ümmü Gülsüm who is very popular in her period and known as "Nightingale of the East". In 1939, the first movie is that Sadettin Kaynak composes Turkish adapted songs instead of Arabic ones is "Leyla ile Mecnun" by doing an agreement with "İpek Film Company". Second movie that he takes as order, is "Harun Reşid'in Gözdesi" (Denanir). And, that second movie plays a significant role to internalize Kaynaks' songs for Turkish public. With the songs that Kaynak composes for Egyptian and Arabic movies, creates a cult and without any doubt, he opens an important way to free musical works. In this study including five chapters, in first chapter, it is explained interaction of Turkish and Arabic music with methods of structural and "makamsal". In second chapter, from first quarter of 19th century, taking attention periods of three sultans; III. Selim, II. Mahmud and I. Abdülmecid are studied in terms of westernization and refom processes. In third chapter, it is explained interactions of Turkish and Arabic musicians in 19 and 20th century and then, it is considered of the reasons why Turkish people demanded for Arabic movies and ban of Turkish music on Turkish radios are adverted with anecdotes and written documents. In forth chapter, it is mentioned the story of Harun Reşid'in Gözdesi (Denanir) and, the original and adapted songs are indicated in chart lists. In addition, it is adverted short life stories and visions of composition of three Arabic composers and one Turkish composer who are Zekeriya Ahmed, Muhammed Kasabji, Riyad el-Sunbati and Sadettin Kaynak. Beside, it is discussed effects of Arabic music to Turkish music such as makam, orchestration and form. In fifth and last chapter, seven songs in the movie are analyzed structurally and" makamsal" (sometimes mentioning intrumantation) and similarities, diversities are exhibited. In results of the analysises and comparisons, it is seemed that composing songs for Egyptian and Arabic movies like Harun Reşid'in Gözdesi (Denanir) provide a big free musical vision to Sadettin Kaynak and Turkish music including makam, form and instrumantation.