Musics in Melāmies (Example of Nūrīyyā Melāmis)

The Melāmīyya, a Sufi movement formed by those who adopted the Melāmet approach, emerged in the Khorasan region in the 9th century. It is examined in three periods as the Melâmetîyye-i Kaṣṣarīyya, attributed to Hamdūn el-Kassār, the Melāmîyetiyye-i Bayrāmīyye with the caliph of Hacı Bayrām-ı Veli, Ömer Dede Sikkīnī, and finally the Melāmīyya-i Nūrīyya, which began with the lineage of Muhammed Nūru'l-Arabī. It has been observed that the studies conducted on the Melāmīyya, whose religious rules and unique forms of worship we could not find, are generally in the field of Sufism and literature. However, it is understood that the studies conducted on the musical aspect of Melāmīyya are incomplete or insufficient. Our research has determined that the musical aspect of the Melāmīyya and Bayrāmī Melāmī had previously been included in the sources, albeit to a lesser extent, but there is no independent study on the musical aspect of the Nūrīyya Melāmī, who is attributed to Muhammad Nur al-Arabi. In this study, the relationship between Melāmīyya and music from Muhammed Nūr al-Arabī to the present day has been investigated through Melāmī sources. The universe of the study is "The Place of Religious Music in Melāmī" and the sample is "Religious Music in Nūrīyya Melāmī". Our study is a qualitative research using personal interview records, classical and research sources. The aim of this study is to determine whether there are religious music practices that can be mentioned together with Melāmīes and the place of music in Melāmī lodges. The problem of our research is the question of "What are the religious musical works sung in the Nūrīyya Melāmī lodges whose lyrics and/or compositions belong to Melāmī dervishes?" It was investigated whether the divans we encountered during the literature review allowed us to determine the musical understanding of the Nūrīyya Melāmīes, whether the music performed in the Melāmī lodges was open to the outside world, and whether there was an educational process in the music performed by the Nūrīyya Melāmīes. Thus, it was aimed to reveal whether there was an independent musical understanding in the Melāmī as in the Mawlawīes and Bektashīes as a result of the research. In the study, 14 divans belonging to the Nūrīyya Melāmīes were examined and it was determined that some of the poems in 8 divans were composed in religious music forms, and that they were performed in Melāmī lodges, other dervish lodges and associations, as well as outside the lodge without specifying their identity. As a result of the interviews, it was revealed that Yahya Soyyiğit and Ender Dogan, who are among the Melāmī composers, gave music lessons, but these lessons were not given in other associations. In the study, it is understood that the Nūrīyya Melāmīes, who have gone through different phases from the past to the present and have lodges in the Balkans and Turkey, have many mentors and are not similar to the tarîkats that have a single post such as Mawlawīyah. In this regard, it is seen that there are differences among the Nūrīyya Melāmīes. In our study, one dhikr arrangement, 174 compositions and 45 compiled hymns, which were stated to belong to the Nūrīyya Melāmīes, were identified. As a result, it has been found that Nūrīyya Melāmīes do not have an understanding of music that can be described as unique to them, and that they made a significant contribution to the religious music repertoire as lyrics/compositions.