In turkish music, XVIIIth and XIXth comparative analysis of the Saz Semai of Neyzen compositers who lived in centuries

In this study; Neyzen Composers who lived in two different centuries, composed in the same maqam, in the form of Saz Semaisi; It is aimed to reveal the use of maqam, rhythm, form and to determine the situation. Research in this direction; XVIIIth and XIXth. It is limited to 33 pieces of Saz Semai's composed by 10 Neyzen Composers, who lived between the centuries, in nine different maqams. In the conceptual framework, the Saz Semaisi form XXIth century has been handled according to its characteristics. In the study conducted with a qualitative approach, data were collected as a result of the literature review, and the scanning model, one of the descriptive research methods, was used. The works were analyzed by content analysis method. In Maqam analysis; Taking the Arel theory as a model, the seyir (melodic route) feature in each part of the Saz Semaileri was examined. In the Seyir feature; The pitch at which the melody begins, the quartet, quintet, çeşni sequence used, and the pitch at which the melody ends are taken into account. In any pitch within the sequence that makes up the maqam; If the quartet and quintet are not fully used, or if a melodic theme or a stay is performed using two or three frets, the concept of çeşni is used. Maqam analysis of the works; In the frets in the maqam scale, the number of stays, equipment, scale, seyir, expansion, tonic and yeden (leading tone) were determined. In the form analysis of the works; The analysis method quoted by Onur Akdogu in his Book of Types and Forms was used. The format of the works has been determined. No analysis was carried out in terms of rhythm, the rhythms used in the parts of the works were transferred. Each Saz Semai analyzed together with the findings was compared both within itself according to the century in which they were composed and according to the maqam, rhythm and form elements between the centuries. In this context, XVIIIth and XIXth. The results of the use of maqam, rhythm and form in the Saz Semaileri of Neyzen Composers, who lived between the centuries, are revealed.