An examination of Udi Nevres Bey and Udi Yorgo Bacanos' song form in the relationship of usul-aruz vezin

XX. Udî Nevres Bey and Udî Yorgo Bacanos, two of the most important names in the oud performance of the 20th century, made a great contribution to the development of the oud instrument with their performances, and also left their mark on the period they lived in with the works they composed. As a result of the scans made in the TRT notation archive, a total of 17 works, including 2 instrumental works, 7 verbal compositions by Udî Nevres Bey, and 1 instrumental and 7 oral compositions by Yorgo Bacanos, have reached the present day. In this study, it is aimed to create templates showing the usûl-arûz meter relationship of 14 pieces composed in the form of songs, 7 pieces by Udî Nevres Bey and 7 pieces by Yorgo Bacanos. By using the content analysis method of the works composed in the song form determined in the study, the shape features in the lyrics, the template showing the usûl-arûz rhythm relationship and the melodic order in the works are also included. This study is a qualitative research and was designed with a systematic scanning design. In the research, data were collected through document review and analyzed by theme, descriptive analysis and content analysis. It has been determined that 4 of the 7 works composed by Udî Nevres Bey in song form are Fâilâtün / Fâilâtün / Fâilâtün / Fâilün, 2 of them are Fâilâtün / Fâilâtün / Fâilâtün and 1 of them are Mefâîlün / Mefâîlün / Mefâîlün / Mefâîlün. In the works, the usûl mints of the words have come to short mints and the closed syllables to long mints, and this has shown a balanced usûl-prosody rhythm relationship and it has also been determined that it creates an aesthetic structure in terms of prosodic. From these works; Three of the ones in Fâilâtün / Fâilâtün / Fâilâtün / Fâilün meter were composed in the slow limping (9/4) and 1 in the limping semai (9/8) style. Two works in Fâilâtün / Fâilâtün / Fâilâtün meter were composed in hindi (7/4) style. Mefâîlün / Mefâîlün / Mefâîlün / Mefâîlün was composed in the Aksak (9/8) style. It has been determined that 4 of the 7 works composed by Udî Yorgo Bacanos in song form were composed in Mefûlü / Mefâîlü / Mefâîlü / Feûlün, 2 in Fâilâtün / Fâilâtün / Fâilâtün / Fâilün, 1 in Mütefailün / Mütefailün meter. In the works, the usûl mints of the words have come to short mints and the closed syllables to long mints, and this has shown a balanced usûl-prosody rhythm relationship and it has also been determined that it creates an aesthetic structure in terms of prosodic. From these works; Mefûlü / Mefâîlü / Mefâîlü / Feûlü's meters were composed in 3 sengin semai (6/4) and 1 Turkish accent (5/8). . Two works, which are in Fâilâtün / Fâilâtün / Fâilâtün / Fâilün meter, were composed in the heavy lag (9/4) style. The piece in the meter of Mütefailün / Mütefailün was also composed in the semai (3/4) style. Keywords: Turkish Music, Turkish Classical Music, Udî Nevres Bey, Udî Yorgo Bacanos, Song Form, Usûl-Ârûz Vezin Relation