Abstract:

In this research, 10 works in the form of songs in the Hijaz maqam in Ümit Yazıcı repertoire were handled within the scope of document analysis, and the obtained data were tabulated with their form, maqam, rythm and literary dimensions, and descriptive analysis was made in this direction. In the form analysis dimension, the forms of the works were examined according to Kemal İlerici's approach, and 5 different song forms were determined. 1 Song in the first variety of twin whole, 4 in the second variety, 2 in the third variety, 2 in the fourth variety and 1 artifact in the seventh variety were determined. Based on the maqam and rhythm dimension of the works and the İsmail Hakkı ÖZKAN, 10 works in the Hejaz maqam were examined. In the results of the data obtained from the authority analysis. It has been determined that 5 of them are in Hümâyûn, 4 in Hejaz and 1 in Uzzal mode. Şemseddin Ziya Bey used small rhythm in his works. 1 Semai, 3 Düyek, 4 Aksak, 1 Ağır Aksak, 1 Curcuna methods have been identified. As a result of these determinations, it was determined that he composed mostly in Aksak and the least in Semai, Ağır Aksak and Curcuna styles. His literary analyzes were analyzed by Haluk İPEKTEN, the basic structure of the Old Turkish Literature Poems and Prosody book, as a result of which 10 syllable sizes, 9 Aruz meters were used in the 10 songs he composed, 6 Mefâîlün Mefâîlün Mefâîlün Mefâîlün Mefâîlün, 1 Mefâ'îlün/mefâ' Fe'ûl came to the place where it was written with the forms 1 Fe'ilâtün / Fe'ilâtün / Fe'ilâtü Fe'ilün,(Fâilâtün) (Fa'lün), 1 Fâ'ilâtün / Fâ'ilâtün / Fâ'ilâtün / Fâ'ilün.