Kaside Form in Turkish Religious Music: İsmail Doruk Example

Özkan Özkoç

Article Details

Kaside Form in Turkish Religious Music: İsmail Doruk Example

Authors:

Özkan Özkoç

Publisher:

Eskişehir Osmangazi University

Main Topics:

Dini Musiki

Journal:

Eskişehir Osmangazi Üniversitesi İlahiyat Fakültesi Dergisi Vol.12 Issue 2, pp.634-649

Document Type:

Article

Publication Date:

9/2025

Document Language:

Turkish

Document ID (Org No.):

2001357956

pISSN:

2147-8171

Keywords:

Abstract:

 Kasidas are verse forms that have an important place, especially in Arabic, Iranian and Turkish Literature and contain certain features. Although they are similar to ghazals in terms of form, certain differences are observed in terms of content. Compared to ghazals, kasides have more couplets and appear with five different sections. These sections are called Nesîb, Mehdiye, Tegazzül, Fahriye and Dua. In Turkish Religious Music, kaside, which is the common form of Mosque and Tekke Music, is similar to its counterpart in the form of ghazal, which is La Religion. Although both forms are vocalized improvisation in makam with melody, the addressee of the written lyrics is different. While the lyrics of ghazals are humanistic, kasides are poems that contain religious lyrics such as the mercy and love of Allah and the sense of intercession. Those who recite the kaside are called Kasidehân. In this research, the kaside type in Turkish Religious Musicis analyzed through the example of İsmail Doruk Hodja. Mevlidhan, Kasidehan İsmail Hodja, who became famous with his Nightingale Ode in television programs in the 1970s and established a throne in the hearts, established a bond of love between Allah and the servant with his ode and mevlid readings on religious special occasions all over Turkey. In this part of the research, the kaside named Takdiri İlâhi Dizi Dizidir, whose lyrics belong to Yusuf Nalkesen, was analyzed in terms of the ornamentation elements and makam understanding used by İsmail Doruk, Nalkesens student, during the performance. Two performances were determined: the audio-visual recording of the mentioned ode, which is a TRT Documentary, and the album made by Uzelli Sterio company under the direction of Nalkesen. Although Mr. Doruk prefers to sing in the same makam in his ode recitations, he utilized the different characteristics of the makam due to the fact that the ode recitations are irtical. This is an indication of İsmail Doruks musical knowledge, skills and equipment. The TRT Yusuf Nalkesen documentary was preferred in this study in terms of audio-visual and instant recording, thus ensuring consistency of observation and comprehensibility. The performance of the ode named Takdiri İlâhi Dizi Dizidir, whose lyrics belong to Yusuf Nalkesen, which was broadcast in the TRT Documentary, was performed by İsmail Doruk Hodja, notated, transcribed and analyzed in makams. The four voices of the performed kaside were performed one octave higher, and the metronome value of the performance was determined as 80 bpm. The transcription of the performance recording on the porte was transferred over the bolahenk ney tuning displacement. In addition to a beautiful voice, ornaments that carry an element of musical expression were utilized in the transfer of the kaside, which have the characteristics of prayer, to the listener. Therefore, determining the location and frequency of ornament use in the work is a crucial aspect of the research. The table provides the location and frequency of the ornaments used. Additionally, the table provides information on the locations and frequency of breathing. Audacity slowing down program was used in the transcription study and the notes obtained were transferred to the computer environment with the Mus2 program. This article serves as an important role model for future generations by revealing the musical identity of İsmail Hocas style and attitude. When the literature is reviewed, it is seen that there are mostly written expressions about kaside, and there are almost no performance descriptions with note examples. Therefore, the primary objective of this research is to serve as an exemplary source for the kaside form. It is important in terms of researching other form structures in our Religious Music such as the Kaside form and transferring the performances to notation, as well as assimilating, preserving and transferring the musical identities of other important performers such as İsmail Doruk Hoca to future generations.

 Kasidas are verse forms that have an important place, especially in Arabic, Iranian and Turkish Literature and contain certain features. Although they are similar to ghazals in terms of form, certain differences are observed in terms of content. Compared to ghazals, kasides have more couplets and appear with five different sections. These sections are called Nesîb, Mehdiye, Tegazzül, Fahriye and Dua. In Turkish Religious Music, kaside, which is the common form of Mosque and Tekke Music, is similar to its counterpart in the form of ghazal, which is La Religion. Although both forms are vocalized improvisation in makam with melody, the addressee of the written lyrics is different. While the lyrics of ghazals are humanistic, kasides are poems that contain religious lyrics such as the mercy and love of Allah and the sense of intercession. Those who recite the kaside are called Kasidehân. In this research, the kaside type in Turkish Religious Musicis analyzed through the example of İsmail Doruk Hodja. Mevlidhan, Kasidehan İsmail Hodja, who became famous with his Nightingale Ode in television programs in the 1970s and established a throne in the hearts, established a bond of love between Allah and the servant with his ode and mevlid readings on religious special occasions all over Turkey. In this part of the research, the kaside named Takdiri İlâhi Dizi Dizidir, whose lyrics belong to Yusuf Nalkesen, was analyzed in terms of the ornamentation elements and makam understanding used by İsmail Doruk, Nalkesens student, during the performance. Two performances were determined: the audio-visual recording of the mentioned ode, which is a TRT Documentary, and the album made by Uzelli Sterio company under the direction of Nalkesen. Although Mr. Doruk prefers to sing in the same makam in his ode recitations, he utilized the different characteristics of the makam due to the fact that the ode recitations are irtical. This is an indication of İsmail Doruks musical knowledge, skills and equipment. The TRT Yusuf Nalkesen documentary was preferred in this study in terms of audio-visual and instant recording, thus ensuring consistency of observation and comprehensibility. The performance of the ode named Takdiri İlâhi Dizi Dizidir, whose lyrics belong to Yusuf Nalkesen, which was broadcast in the TRT Documentary, was performed by İsmail Doruk Hodja, notated, transcribed and analyzed in makams. The four voices of the performed kaside were performed one octave higher, and the metronome value of the performance was determined as 80 bpm. The transcription of the performance recording on the porte was transferred over the bolahenk ney tuning displacement. In addition to a beautiful voice, ornaments that carry an element of musical expression were utilized in the transfer of the kaside, which have the characteristics of prayer, to the listener. Therefore, determining the location and frequency of ornament use in the work is a crucial aspect of the research. The table provides the location and frequency of the ornaments used. Additionally, the table provides information on the locations and frequency of breathing. Audacity slowing down program was used in the transcription study and the notes obtained were transferred to the computer environment with the Mus2 program. This article serves as an important role model for future generations by revealing the musical identity of İsmail Hocas style and attitude. When the literature is reviewed, it is seen that there are mostly written expressions about kaside, and there are almost no performance descriptions with note examples. Therefore, the primary objective of this research is to serve as an exemplary source for the kaside form. It is important in terms of researching other form structures in our Religious Music such as the Kaside form and transferring the performances to notation, as well as assimilating, preserving and transferring the musical identities of other important performers such as İsmail Doruk Hoca to future generations.

 Kasidas are verse forms that have an important place, especially in Arabic, Iranian and Turkish Literature and contain certain features. Although they are similar to ghazals in terms of form, certain differences are observed in terms of content. Compared to ghazals, kasides have more couplets and appear with five different sections. These sections are called Nesîb, Mehdiye, Tegazzül, Fahriye and Dua. In Turkish Religious Music, kaside, which is the common form of Mosque and Tekke Music, is similar to its counterpart in the form of ghazal, which is La Religion. Although both forms are vocalized improvisation in makam with melody, the addressee of the written lyrics is different. While the lyrics of ghazals are humanistic, kasides are poems that contain religious lyrics such as the mercy and love of Allah and the sense of intercession. Those who recite the kaside are called Kasidehân. In this research, the kaside type in Turkish Religious Musicis analyzed through the example of İsmail Doruk Hodja. Mevlidhan, Kasidehan İsmail Hodja, who became famous with his Nightingale Ode in television programs in the 1970s and established a throne in the hearts, established a bond of love between Allah and the servant with his ode and mevlid readings on religious special occasions all over Turkey. In this part of the research, the kaside named Takdiri İlâhi Dizi Dizidir, whose lyrics belong to Yusuf Nalkesen, was analyzed in terms of the ornamentation elements and makam understanding used by İsmail Doruk, Nalkesens student, during the performance. Two performances were determined: the audio-visual recording of the mentioned ode, which is a TRT Documentary, and the album made by Uzelli Sterio company under the direction of Nalkesen. Although Mr. Doruk prefers to sing in the same makam in his ode recitations, he utilized the different characteristics of the makam due to the fact that the ode recitations are irtical. This is an indication of İsmail Doruks musical knowledge, skills and equipment. The TRT Yusuf Nalkesen documentary was preferred in this study in terms of audio-visual and instant recording, thus ensuring consistency of observation and comprehensibility. The performance of the ode named Takdiri İlâhi Dizi Dizidir, whose lyrics belong to Yusuf Nalkesen, which was broadcast in the TRT Documentary, was performed by İsmail Doruk Hodja, notated, transcribed and analyzed in makams. The four voices of the performed kaside were performed one octave higher, and the metronome value of the performance was determined as 80 bpm. The transcription of the performance recording on the porte was transferred over the bolahenk ney tuning displacement. In addition to a beautiful voice, ornaments that carry an element of musical expression were utilized in the transfer of the kaside, which have the characteristics of prayer, to the listener. Therefore, determining the location and frequency of ornament use in the work is a crucial aspect of the research. The table provides the location and frequency of the ornaments used. Additionally, the table provides information on the locations and frequency of breathing. Audacity slowing down program was used in the transcription study and the notes obtained were transferred to the computer environment with the Mus2 program. This article serves as an important role model for future generations by revealing the musical identity of İsmail Hocas style and attitude. When the literature is reviewed, it is seen that there are mostly written expressions about kaside, and there are almost no performance descriptions with note examples. Therefore, the primary objective of this research is to serve as an exemplary source for the kaside form. It is important in terms of researching other form structures in our Religious Music such as the Kaside form and transferring the performances to notation, as well as assimilating, preserving and transferring the musical identities of other important performers such as İsmail Doruk Hoca to future generations.

 Kasideler özellikle Arap, İran ve Türk Edebiyatının önemli bir yeri olan, içinde belli özellikler barındıran nazım şekilleridir. Şekil olarak bakıldığında gazel türüne benzese de içerik olarak belli farklılıklar gözlemlenmektedir. Kasideler gazellere göre beyitleri daha olabilmektedir ve beş ayrı bölüm ile karşımıza çıkmaktadır. Bu bölümler Nesîb, Mehdiye, Tegazzül, Fahriye ve Dua olarak adlandırılmışlardır. Türk Din Mûsikîsinde de Cami ve Tekke Mûsikîsinin ortak formu olan kasideler, La Dini olan gazel formundaki karşılığı olarak benzeşmektedir. Her iki formda da irticali olarak makamlı nağmeli olarak seslendirilmesi yapılsa da yazılmış güftelerin muhatabı farklı olmaktadır. Gazellerin güfte içeriği beşerî iken, kasideler Allahın rahmeti, sevgisini anlatan, şefaat duygusu gibi dini sözler içeren şiirlerdir. Kasideleri okuyan kimselere Kasidehân denmektedir. Bu araştırmada Türk Din Mûsikîsindeki kaside formunu İsmail Doruk Hoca Örneği üzerinden incelenmiştir. 1970lerde televizyon programlarında Bülbül Kasidesi ile ünlenen ve gönüllerde taht kuran Mevlidhan, Kasidehan İsmail Hoca, Türkiyenin dört bir yanında dini özel günlerde kasideler ve mevlid okumalarıyla Allah ile kul arasında muhabbet rabıtası kurmuştur. Araştırmanın bu bölümünde güftesi Yusuf Nalkesene ait olan Takdiri İlâhi Dizi Dizidir adlı kasidenin, Nalkesenin öğrencisi İsmail Doruk Hocanın icra sırasında kullandığı süsleme öğeleri ve makam anlayışı bakımından incelemesi yapılmıştır. Sözü edilen kasidenin TRT Belgeseli olan işitsel-görsel kaydı ve Nalkesenin yönetmenliğindeki Uzelli Sterio şirketi tarafından yapılan albüm olmak üzere iki adet performans belirlenmiştir. Doruk Hoca kaside okuyuşlarında aynı makamda seslendirmeyi tercih etse de kasidelerin irticali olması sebebiyle makamın farklı seyir özelliklerinden faydalanmıştır. Bu da İsmail Doruk hocanın müzikal bilgi, beceri ve donanımının bir göstergesidir. TRT Yusuf Nalkesen belgeselinin işitsel-görsel ve anlık kayıt olması, buna bağlı olarak gözlem tutarlılığının ve anlaşılırlığın sağlanması açısından bu çalışmada tercih edilmiştir. TRT Belgeselinde yayınlanan güftesi Yusuf Nalkesen e ait olan Takdiri İlâhi Dizi Dizidir adlı kaside İsmail Doruk Hoca tarafından yapılan icra, notaya alınarak transkripsiyon çalışması yapılmış ve makamsal olarak analiz edilmiştir. İcra edilen kasidenin dört ses bir oktav üstünden seslendirilmiş ve icranın metronom değeri 80 bpm olarak belirlenmiştir. İcra kaydının porte üzerinde transkripsiyonu bolahenk ney akordu yerinden üzerinden aktarılmıştır. Dua niteliği taşıyan kasidelerin dinleyiciye aktarımı konusunda güzel bir sesin yanında müzikal ifade unsuru taşıyan süslemelerden faydalanılmıştır. Bu sebeple kullanılan süsleme öğelerinin eser içinde nerede ve ne sıklıkta kullanıldığı araştırmanın önemli bir bölümüdür. Kullanılan süslemeler kullanım yer ve sıklığı tabloda belirtilmiştir. Ayrıca nefes alım yerleri ve sıklığı hakkında bilgiler verilmiştir. Transkripsiyon çalışmasında Audacity yavaşlatma programı kullanılmış ve elde edilen notalar Mus2 programı ile bilgisayar ortamına aktarılmıştır. Bu makale İsmail Hocanın üslup ve tavrını mûsikî kimliğini ortaya koyarak gelecek nesillere rol model olması açısından önem arz etmektedir. Literatür taraması yapıldığında kasideler hakkında daha çok yazılı ifadelere yer verilmekte, nota örnekli icra tarifi ise yetersiz olduğu görülmektedir. Bu sebeple kaside formuna örnek kaynak olması çalışmanın temel amacıdır. Kaside formu gibi Dini Mûsikîmizdeki diğer form yapılarının araştırılarak icraların notaya aktarılması, bununla birlikte İsmail Doruk Hoca gibi diğer önemli icracılarımızın müzikal kimliklerinin özümsenmesi, korunması ve gelecek kuşaklara aktarılması bakımından önemlidir.

Article Details

Kaside Form in Turkish Religious Music: İsmail Doruk Example

Authors:

Özkan Özkoç

Publisher:

Eskişehir Osmangazi University

Main Topics:

Dini Musiki

Journal:

Eskişehir Osmangazi Üniversitesi İlahiyat Fakültesi Dergisi Vol.12 Issue 2, pp.634-649

Document Type:

Article

Publication Date:

9/2025

Document Language:

Turkish

Document ID (Org No.):

2001357956

pISSN:

2147-8171

Religious Music

Mosque

Makam Analysis

Tekke

İsmail DorukTekke

Cami

Kaside Formu

İsmail Doruk

Makam Analizi

Dini Musıki

Issues

Article Details

Authors: Özkan Özkoç

Publisher: Eskişehir Osmangazi University

Main Topics: Dini Musiki

Journal: Eskişehir Osmangazi Üniversitesi İlahiyat Fakültesi Dergisi Vol.12 Issue 2, pp.634-649

Document Type: Article

Publication Date: 9/2025

Document Language: Turkish

Document ID (Org No.): 2001357956

pISSN: 2147-8171

Issues

Authors:

Özkan Özkoç

Publisher:

Eskişehir Osmangazi University

Main Topics:

Dini Musiki

Journal:

Eskişehir Osmangazi Üniversitesi İlahiyat Fakültesi Dergisi Vol.12 Issue 2, pp.634-649

Document Type:

Article

Publication Date:

9/2025

Document Language:

Turkish

Document ID (Org No.):

2001357956

pISSN:

2147-8171