Makam-Oriented Symbolism In Batanay's Nikriz Mevlevi Ayini

Karadeniz I.

ART-SANAT, vol.12, pp.243-268, 2019 (ESCI) identifier

  • Publication Type: Article / Article
  • Volume: 12
  • Publication Date: 2019
  • Doi Number: 10.26650/artsanat.2019.12.0011
  • Journal Name: ART-SANAT
  • Journal Indexes: Emerging Sources Citation Index (ESCI), TR DİZİN (ULAKBİM)
  • Page Numbers: pp.243-268
  • Hacettepe University Affiliated: No


This study seeks to identify the effect of the literary competence of Kemal Batanay (1893-1981), who created pieces in several traditional Turkish arts and whose competence rests on his identities of Quran recitation, calligraphy and poetry, on his composition. The idea that Batanay, who utilized poetry and music towards a common narrative, supported his musical compositions with extra-musical elements forms the basis of this study. Departing from the concepts of connotation and togetherness of music and lyrics which were prominent in symbolism, the Mevlevi ayini composition of Batanay, which as a genre in traditional Turkish music comprises of intensive narration upon symbols, is taken into account. It is questioned how the themes, subjects and details related to the symbolic fiction of the ritual appearing in the ghazals, rubais and distiches in the Mevlevi ayini in makam Nikriz are connoted and to what extent supported by the makam structure of the composition. The Analysis section, where the makam structures in the movements named Selam in the score are identified, explains the relation between the makam structures preferred by the composer, and the semantic content of the lyrics and the symbolic fiction of the ritual. It is concluded that the only work of the composer in this genre shows an abstract integrity in terms of poetry and music through the details strengthening the semantic structure by symbolic emphases.