Abstract:

Bolâhenk Nuri Bey, who composed religious and non-religious works, grown in the educational circle of the musical masters of the period such as Hammâmîzâde İsmâil Dede Efendi, Bestekâr Rıfat Bey, Dellâlzade İsmâil Dede, and Şeyh Mehmet Rızâ Efendi and was one of the most important composers in the field of Classical Turkish Music in the 19th century, has two hymns, one Sirto, four Kârs, eleven Beste’s, fourteen Semaîs, thirty-eight songs in 23 maqams, and also two works in the form of Mevlevî Ayîn-î Şerîfi. Among those two works composed in the maqams of Buselik and Karcığar, the liturgy in the form of Buselik was performed in Yenikapı Mevlevihane for the first time. In 1873 in İstanbul, he published a journal of lyrics including numerous compositions in eighteen maqams called “Mecmuâ-i Şarkıyyât, Kârhâ and Nakşhâ”, by the title “Mehmed Nuri”. In this paper, the first prelude of Buselik Ayîn-i Şerîfi by Bolâhenk Nuri Bey was analyzed in terms of maqam and transposition. It is thought that this study will popularize the researches related to the perception of employing techniques and maqams used by Bolâhenk Nuri Bey, the great Turkish composer, and to contribute to the young people who plan to receive Classical Turkish Music education in better understanding his musical identity.

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