The composition style of ilahi in the İsmail Dede school

Hammâmîzâde İsmail Dede Efendi, who is one of the most important figures of traditional Turkish music we met throughout the history, is accepted as a summit, produced artworks influenced his time and beyond, educated students who made the tradition live and reach to the future. Leading names in the last chapter of the period internalized as the classical age by many researchers and music enthusiasts like, Dellalzade İsmail, Mutafzade Ahmet Efendi, Eyuplu Mehmet Bey and Zekai Dede, were composers who were trained through İsmail Dede's education. İsmail Dede, who was a composer with a high quality of teaching as well as great artistry, created the music school we named as İsmâil Dede School in this study, together with his students. This school has been so effective in Turkish music history that, today if we investigate the meşk chain of any player-composer whose teacher-student range is known, that chain will reach to İsmail Dede with a strong possibility. In this study, meşk practices, composer training processes of the school are presented in detail with the prosopography method. On the genre ilâhî (hymn), the composing behavior of the composers participate in the school and the ilahi genre's form specialties are spotted with disuniting musical sentence structures of the hymns and comparatively inspecting the usul-melody-vezin levels. The data we acquired from the artworks analyzed with the formal method and critical edition practices required creating new editions, revealed usul problems especially in out ilâhî repertoire, enabled us to produce solutions in this subject. I present my apologies because of the unnoticed mistakes made by me and my thanks which are impossible to fit in words and time to all my teachers, especially my advisor Assoc. Prof. Sıtkı Bahadır TUTU; finally, in a word, to Âdem-i mânâ-yı âlî.