AN INVESTIGATION ON THE RELATIONSHIP BETWEEN YÜRÜK SEMÂÎ AND CURCUNA

Abstract

Objective: The song of Hacı Ârif Bey has two notes written in both the Yuruk Semai and Curcuna styles. The composition and lyrics in both notes are the same. The song is performed in both forms. No data was available on whether the song was composed by the composer in two different ways, or whether it was performed in these two ways over time and has come to this day. In this paper, it is aimed to examine the relationship between the methods of Yürük Semâî and Curcuna, starting from Hacı Ârif Bey's Nihâvend song.

Method: The Yürük Semai style (3 + 3) and the Curcuna style (5 + 5) consist of two equal layers in time. In this study, a work in the form of Râst makam and Yürük Semâî style, with 3 (3 + 3) forms was studied. Starting from the above-mentioned work of Hacı Ârif Bey, a method of converting the notes of this work, which was composed in 3-timed form, into 5-timed form was followed. In addition, a Türkü in Curcuna rhythm was written according to the rhythm of Yürük Semâî.

Findings: The method of the work can be translated from Yürük Semâî to Curcuna without being forced. After the process, the prosody of the work and the effect it creates on the listener changes, albeit partially.

Conclusion: It was concluded that "rhythms consisting of two equal equal times" such as Curcuna or Yürük Semâî can be used interchangeably. This was evaluated as the interchange of rhythms. It was concluded that the richness in the performance and sensation of the work can be created by making the transition between the rhythms in the works with such suitable rhythms.