The place and use of erbâne in Turkish religious music

In our study, first of all, the etymological origin of the erbâne is discussed, and how the name of this instrument has undergone a process of change throughout history and its performance is examined. The structure of the erbâne is examined in detail and information is given about the materials from which the instrument is made, how it is produced and its technical features. The forms in which erbâne is frequently used in Turkish religious music such as ilâhi, suğuş, nefes, mersiye, deyiş and semah, and how it is performed in nîm sofyan, semâi, sofyan, yürük semâî, devr-i hindî, düyek, aksak, raks aksağı, curcuna, devr-i revân, bektâşi raksân and raksân usuls are analyzed. In our study, special symbols were created in order to reveal a method for the performance and education of erbâne, and it was aimed to facilitate its teaching by showing these symbols on works that are examples of frequently used forms and usuls.