A Research on

Abstract

When the sources related to Turkish Music theory, which is also used in Turkish Music education and written in the last 50 years, are reviewed, it is seen that some of the information in these sources are incomplete, forgotten or erroneous. Therefore, determination of such information and making the necessary corrections will be important and valuable in terms of Turkish Music. In this study, it is aimed to review and update the information about the bektâşî raksân mentioned in the usûl section of theoretical books. Data were collected and analyzed using the document scanning method. It has been determined that the sources about bektâşî raksân can be grouped under three headings. Two of these three sources state that the usûl is in the form of "türk aksağı + aksak semâî", while the other source states that the usûl is "türk aksağı evferi + aksak semâî". There are only two hymns in the sources that are claimed to be the bektâşî raksan. While the Acem-Kürdî hymn is given as an example in all sources, the segâh hymn is shown as an example only in one source. When the note of the Acem-Kürdî hymn is examined, it is seen that the style of the work consists of one 8-time (2 + 3 + 3) and one 7-time (2 + 2 + 3) style; therefore, it is seen that the usûl of the sample work given does not conform to the specified patterns ("Türk Aksağı + Aksak Semâî" and "Türk Aksağı Evferi + Aksak Semâî"). It is understood that the second hymn given as an example was composed as "türk aksağı evferi + türk aksağı evferi + türk aksağı" and the lyric section was composed as "aksak semai evferi + turkish aksağı". No other work, whose usûl is mentioned as the raksân of bektâşî, was not found in the survey. For this reason, the bektâşî raksânı methodology was redefined by taking into account the information in theology books. According to this: The information given by Hurşit Ungay as "It is formed by the combination of three different Türk Aksağı" for the usûl; in other sources, the strokes and definition of the rhythm have been updated by looking at the "way of displaying the usûl" conforming to this information and the way Fatih Salgar is depicted in the divine hymn. Accordingly, the bektâşî raksânı usûl was accepted as a 15-timed, 9-pulsed method formed by combining 3 5-timed usûls such as “türk aksağı evferi + türk aksağı evferi + türk aksağı”. In this study, it was concluded that reviewing the information about Turkish Music Theory from time to time would be necessary and useful for Turkish Music.

Keywords

Key Words: Bektâşî raksânı, Usûl, Rhythm, Update.