In this study; musical qualities of two different works of different composers with the same lyrics but different makams(tunes), that were composed in Song form the most commonly used form of non-religious Classical Turkish Music including the period before and after the Republic are analyzed and mentioning the life and the works of Şeyh Gâlib Dede, Hacı Arif Bey and Saadettin Kaynak primarily, their relation with Form, Usûl, Arûz wezni in Turkish Music and Classical Turkish Music is covered from general to specific. The work named “Geçti zahm-i tir’i hicrin”, written by Şeyh Gâlib Dede and composed by Hacı Arif Bey in Kürdî’li Hicazkâr makam(tune), and the work named “Fariğ olmam eylesen yüz bin cefa”, written by Şeyh Galip and composed by Sadettin Kaynak in Isfahan makam(tune), are the samples of this study. In this study; the works have been analyzed in terms of lyrics, form, makam(tune) and usul(tempo), and their similarities and differences are discussed. As a result of the findings, it is seen that the mentioned poems of Şeyh Gâlib Dede were written in the same vezin(meter) and they are in the same form. Hacı Arif Bey is one of our 18th century composers who sustain Classical tradition and considered to be the inventor of Şarkı form. Hafız Saadettin Kaynak is one of our Republic era composers and he is seen as one of the composers who sustain the same Classical tradition. In the works we examine, we see that both of the composers comply with the Classical tradition by changing usûl(tempo), using the classical traditional format of Şarkı form and not taking the easy way. Considering all the results, our study is thought to offer an insight to both the Classical manner and the continuation of artistic works and will contribute to the creation of new works.
Şeyh Gâlib, Hacı Arif Bey, Sâdeddin Kaynak, Song Form, Makam(Tune), Lyric, Arûz(Prosody)