Analysis of Turkish music usûls in the TRT Turkish Folk Hymns repertoire

This study, 32 hymns from different regions of Turkey were analysed in terms of their lyrics within the framework of the themes of tawhid, na't and munajat, and then examined in terms of their rhythmic structures and Turkish musical styles. The works examined were selected by scanning the TRT Turkish Folk Music repertoire and 5817 folk songs, and works containing elements of tawhid, na't and munajat were identified. The analyses showed that four-beat measures were the most common measure unit in the selected hymns. Five works were identified in Erzurum and Urfa, while four-beat works were predominantly found in Sivas and Bolu. Erzurum offered rhythmic diversity with different rhythms such as 2/4, 6/8 and 10/8; 6/4 and 10/8 were observed in Urfa, 8/8 and 15/4 in Sivas, 12/8 in Karabük, 6/4 in Kırıkkale, and only 2/4 in Amasya. These findings reveal the richness of the hymn tradition in terms of regional differences and rhythmic diversity. The rhythmic analyses of the works reveal that the rhythms of Sofyan, Nim Sofyan, Curcuna, Devri Hindi, Düyek, Aksak Semai, and Bektaşi Raksanı are extensively used in Classical Turkish Music. In terms of Turkish Folk Music, four- and two-beat main rhythms, ten- and fifteen-beat mixed rhythms, and six- and eight-beat compound rhythms have been identified. The use of compound metres in some works is noteworthy. For example, when considered separately, 'Derman Arardım Derdime' has 7/4 and 4/4 time signa'tures, but when taken together, it corresponds to a 15/4 mixed time signa'ture. 'Cam Özümden Besmeleyi Çekince' allows for flexibility in its rhythmic structure with a 6/4 time signa'ture and a 2+2+2 pattern. He findings reveal a strong connection between lyrics and rhythm in sacred works. Works themed around Tawhid, na't, and munajat, particularly those employing four-beat and compound rhythms, reinforce the meaning and emotional intensity of the lyrics. Furthermore, the similarities between certain works and regional variants highlight the historical and cultural diversity of the Turkish music repertoire. In conclusion, the analysis of lyrics and usûl reveals the rhythmic and thematic richness of hymns and constitutes an important resource for future research in this field. The study emphasises the importance of systematically examining the repertoires of hymns and folk music and demonstrates the need for comprehensive studies in the field of religious music. Furthermore, it is recommended that the repertoires of hymns and religious music be systematically classified, taking into account their subject matter, themes, and rhythmic structures.