Tanbûrî, Composer Zeki Mehmed Ağa and Analysis of Hisârbûselik Saz Semâisi registered as Zeki Mehmed Ağa

Abstract

In this study, the life of composer, tanbûrî Zeki Mehmed Ağa and the Collection of Muallim İsmail Hakkı Bey, the Hisârbûselik Saz Semâi, whose composer was determined to be registered as Zeki Mehmed Ağa in the book no 269. In the study, first of all, a literature review was made. Zeki Mehmed Ağa’s works that have survived to the present day are given in the form of tables that have been classified. As a result of the classification, it has been determined that Hisârbûselik Saz Semâisi, which is included in the book no. 269 of the Collection of Muallim İsmail Hakkı Bey, is not among the Works of Zeki Mehmed Ağa that survived to the present day. Hisârbûselik Saz Semâisi, whose composer is registered as Zeki Mehmed Ağa in the book no 269 of Muallim İsmail Hakkı Bey Collection, is written with the hamparsum notation system. The copy in Muallim İsmail Hakkı Bey Collection was translated into the Arel-Ezgi-Uzdilek system used today and analyzed. It is seen that this work is registered in the name of Tanbûrî Osman Bey, the son of Zeki Mehmed Ağa, in the scanning of the work notes that have survived to the present day. İn the study, the accessible copies of the work were compared and examined. The comparison was carried out on the three copies accessible together with the Muallim İsmail Hakkı Bey Collection copy, the Cüneyd Kosal Copy and the notation in the TRT repertoire. Before the examination, the Hamparsum notation system was introduced. The accessible copies were examined in terms of whether there were differences in terms of tone, tune, transition, pitch and weighing on the created template. It has been determined that there are differences between the copies in terms of tone, tune, transition, pitch and weighing. It has been concluded that there is not enough evidence that the work in the book no. 269 of Muallim İsmâîl Hakkı Bey Collection belongs to Zeki Mehmed Ağa, but that this record is remarkable, and that the piece may have been composed later by his son Osman Bey in honor of his father. Muallim İsmâîl Hakkı Bey Collection The copy in the hamparsum notebook no. 269 and the translation note of the copy in the archive of Cüneyd Kosal are given in the appendix of the study and presented to the use of today’s researchers and performers.