Akademik Veri Yönetim Sistemi
Dinbilimleri Akademik Araştırma Dergisi, cilt.24, sa.2, ss.861-881, 2024 (Hakemli Dergi)
During the worship and dhikr in mosques and lodges, commonly known forms such as Quran recitation, adhan, kamet, sala, takbir and hymn are performed. In addition to these forms; A total of thirty-six forms have entered the Turkish Religious Music literature, including other forms that have become less common, such as temcîd, tevşîh, ta'rif, ferâciye and durak. In addition to these examples showing the richness of mosque and lodge culture, there are also forms performed in certain regions that can be evaluated locally. One of these is the Ishfa’Lanā prayer, which continues to exist in Erzurum and is recited between tarawih and witr prayers. While this form, which is known to have been preserved for many years in the Erzurum region, is recited in all mosques and masjids where tarawih prayers are performed, including the most remote villages of the region, it is observed that the performance of the prayer has decreased in recent years and is slowly losing its prevalence. In this study, it is aimed to identify the Ishfa’Lanā prayer, which is considered as a sign of the richness of religious musical forms and is now at risk of being forgotten, as a form.
This determination; In addition to revealing the characteristics of the prayer in terms of its history, content, widespread influence, performance, unique name, composition, attitude and style, it includes the notation and analysis of the prayer. In the research, the history, content, performers, maqam, maqam analysis, widespread influence and place of the Ishfa’Lanā prayer, which is a tradition carefully kept alive by the people of Erzurum in tarawih prayers, and its place in religious music forms, were studied. The Ishfa’Lanā prayer, which can be considered as a sign of the richness of religious musical forms, has been identified as a form.
Accordıngly, the features that stand out ın thıs form are as follows:
• A prayer form unique to Erzurum province and recited in tarawih prayers was examined within the framework of Turkish Religious Music.
• Prayer has been identified as a local form with many aspects such as its unique name, composition, lyrics, history, reading style, originality and widespread influence.
• Prayer is a living value belonging to the city.
• Prayer is an important tradition that adds dynamism to the religious life of the people of Erzurum and gives the people of the city a sense of unity.
• This form, which has existed for many years in Erzurum and surrounding provinces, has been losing its prevalence recently.
• Prayer should be included in the literature with these aspects and especially its notation.
The field of Turkish Religious Music, which the Ottoman-Turkish society brought to this day with great effort and knowledge, has shown a wide variety of forms. Although some of these forms, which developed in different styles and styles before and after the Republic, survive as performances; It is known that there are some local forms that have been forgotten or are about to be forgotten. It is important that a tradition that lives in the province of Erzurum and has begun to be forgotten in some places is preserved and entered into literature as a local musical form. From this perspective, it is expected that bringing the performance of the prayer, which is still alive today, to a scientific basis will contribute to the field of Turkish Religious Music and therefore to Turkish culture.
In the research, the history, content, performers, maqam, modal analysis, widespread influence and place of the Ishfa’Lanā prayer, which is a tradition carefully kept alive by the people of Erzurum in tarawih prayers, and its place in religious music forms, were studied. The Ishfa’Lanā prayer, which is considered as a sign of the richness of religious musical forms and is at risk of being forgotten in recent times, has been identified as a form. This study has a unique value in the context of "the identification of prayer as a musical form and its modal analysis". The aim of the study is to provide the notation and analysis of prayer as a form on a scientific basis.
The method followed for the modal analyzes of the prayer is primarily based on determinations and observations of the "melodical orientation" of how the melodies begin and progress and how they end. In addition, the Huseyni maqam can be translated into 12 pitches, including itself. In this study, the prayer that moves around the Hüseyni pentacle, which is only the lower flavor of the maqam, has been analyzed as "the appropriate Huseyni pentacle".