Examination of Mehmet Saadettin Heper's Hisar Buselik Mevlevi ritual in terms of method

Turkish music is a quite rich music in terms of historical development besides its wide form and maqam richness. One of the most important forms of Turkish music which contains many forms within, is the Mevlevi rites. There are compositions of many important composers in various maqams in this form from past to the present. One of them is the Mevlevi ritual in Hisar Buselik maqam, which belongs to Mehmet Saadettin Heper. The relationship of this Mevlevi rite, which belongs to Heper, in terms of mode, rhythm-method-lyrics and transition composes the subject of the study. Hisar Buselik ritual consists of foreplay, four salutes, the last foreplay and the last yürük semai. However, it isn't included in the analysis because the foreplay at the beginning of the ritual doesn't belong to Heper. In this research, it is aimed to examine the rite, which was composed in Hisar Buselik maqam, in terms of tone, transition, flavor and method. In addition, it has been tried to reveal the harmony of the work in terms of method, lyrics and rhythm relation, and the relationship between rhythm patterns and the methods. The study is a quantitative research and made by using the "Document Analysis Method". The sections in the Ayin-i şerif have been separated into musical sentences and analyzed in terms of mode and transition, and the lyrics are placed in syllables in prosody patterns and prosody templates and analyzed. As a result of the analysis made about the work, it has been seen that the transitions in the work overlap with the Hisar Buselik maqam described in the Arel system, the maqam transitions are made with quartets and quintets described in the system, and the tempo, lyrics and rhythm are largely compatible. Keywords: Hisar Buselik Mevlevi Ritual, Classical Turkish music, Mehmet Saadettin Heper, method, maqam.