Abdulkadir Meragi: Hayatı, eserlerinin usul ve güfte açısından incelenmesi

Abstract

Türk Mûsikisi 'nde yaptığı besteleriyle ve yazdığı müzikoloji eserleriyle çok büyük bir yer teşkil eden Abdülktdir Meragi, XTV. yüzyılda yaşamıştır. Mûsikinin en büyük üstadlanndan kabul edilen Meragi 'nin eserleri, XV. asır Türkiyesi 'nde okunup çalındıktan sonra, klâsik bestekârlanmızca örnek kabul edilmiştir. Farsça yazdığı müzikoloji eserleri de, Osmanlı müzikolojisine örnek olmuştur. Yazdığı eserler, hayatı, şahsiyeti, müzikolog ve bestekâr hüviyeti için en mühim kaynaklardır. Bu çalışmada şu noktalar üzerinde durulmuştur : Abdülkâdir Meragi 'nin hayati, bestekârlık yönü, müzikolog yönü, eserleri, eserlerin güfte, vezin, usûl yönünden incelenmesi esas alınmıştır.

Abdülkadir Meragi was bornin Meraga City of Azerbaycan in Celayir State which is in Iran today. Although his birth date is not knownexactly, it is guessed that he was born between 1350/1360 a.D. He is known as Abdülkadir of Meraga (Meragalı Abdülkadir), Abdülkadir Meragi, Ibni Gaybi, Hoca Abdülkadir of Meraga. His name `Ibni Gaybi` is due to his father's nickname `Son of Gaybi`. His father Gıyasüddin Gaybi is one of the wellknown learned men of Meraga City. At the same time he is a fa mous musician of Meraga and the first teacher of Abdülkadir on music. The knowledges about Abdülkadir' s youth also are limited with the explanations in his own books. It is understood that, he has been well educated and skilled and has become greatest musician of the City before he left. He las learnt Science of Reading (ilm-i kıraat) of Quran, poetry, literature, caligraphy (cell hat), Arabic and Persian. There was no doubt that he has learnt Per sian as good as his mother language Turkish. His Arabic also was good as the other t#o languages. He has made all Meraga accepted that he was a music genius and his fame was spread out in Azarbaycan and in other neighbour coun tries. His music skillin singing and as oud player, as composer and music scholar was nonpareil. He has started Quran reciting at his 4 years of age and when he was eight years old he had memorized Quran. Abdülkadir' s going to Tebriz which is at a little north and that it was more important culture center than Meraga and it was throne city, could be upon his father's death in Meraga or upon the invitation of the sultan öf Çelâyir. This was Sultan Üvey s, his sultanate was between 1356/1374. Abdülkadir, in his autobiography (in verse, 80 couplets), that he has added to his book named Şerh-i Kitâbü'l Edvar writes that after Sultan Üveys's death he has served to his successor Sultan Hüseyin as composer, singer and oud player and has been paid compliments by both of them. I 1382, Sultan Ahmet Celâyir has ascended to the throne in place of Sultan Hüseyin. Abdülkadir has continiued to hislife in Tebriz Palace as his popiular musician also. He got married in Tebriz in January 1377. His wife was the doughter of Hace Raziyüddin Rıdvan-Shah Ibn-i Türkî-i Tebrîzî. Razi- yüddin who was a Turkish of Tebriz has become Abdülkadir' s teacher since from his coming to Tebriz and has thought how to make settings to him. Raziyüddin who was the main teacher of Abdülkadir on music -after his father-, was the greatest composer of thi time and the master of Tebriz palaca up to the time of Abdülkadir1 s booming. Abdülkadir Meragi when he lives in Tebriz, composes a rhythm (usul/ika devri) for Sultan Hüseyin. `Darb-ı Rebi`, it is a rhythm with 24 times (nakre). He arranges it upon the order of the Sultan. The above name of the rhythm is given by Sultan Hüseyin. There is a record in one of his books (in Fevâid-i Aşere). On the subject of rhythms (usul/ika), while he is telling about the rhythms he composed, he explains whyhe has arranged the `Darb-ı Fetih` (the rhythm with 49 times: Sheikh Ali from Üveyis sons (1382-784H) sends an army to his brother Ahmed, they meet at Ucan. Ahmet can not resist and retreated to his castle. Ali announcec this date as `Day of Victory`, and requests from Abdülkadir a new rhythm (ika devri) So, upon this order Abdülkadir composes `Darb-ı Fetih` (the Conquest Beat). ixBecause of this record, it can be said that Abdiilkadir was beside Sheikh Mi during the struggle that Ahmed made lasted up to 1384. The reason for this according to our opinion, is that Abdiilkadir has joined to the war made between Sheikh Ali and his competitorand brother Ahmed. Abdiilkadir is close friend of Ali and in his autobiography, he says for him `Sultan of the World, Son of Sheikh, Sheikh Ali`. In addition, Abdiilkadir and Sultan Ahmet are very familiar with each other. This has been noted by our composer personally. Abdiilkadir goes to Baghdad, he is 33 years old. And his life that we can divide into two, as 19 years Meraga and 14 years Tebriz life, end. Sultan Ahmed, could not defend Baghdad against Timur' s (Tumberlain) inva sion. Timur (or Timurlenk) had decided to capture Persian Iraq, Azarbaycan then Arabian Iraq, the throne city Baghdad and to exterminate Celâyir State. He moved towards Baghdad. Sultan Ahmed leaving Baghdad on 10.3.1393, took refuge in Barkok, The Egypt Turkish Memlûk Sultan, and Meragi's Baghdad life of 7 years ended. May be he would go to Egypt, but the caravan who was in it has been taken prisoner in Keerbelâ by Timur' s son Miranşâh Mirza. The great composer is sent to Timur to Baghdad. He makes Timur happy, singing a couplet of setting of which poem and the music is belong to himself. He was 40 years old. He escapes to desert towards to Kerbelâ which was in the south west of Baghdad. After that, Hoca Abdiilkadir has been sent to the throne city Semerkant to the palace of Timur. He has not stayed in Semerkant and he has gone around many countries. Meragi has become head musician in Mirza Shah's palace. Mirza Shah is Timur' s son, but he was an unbalanced man and could not make this extraordinary musician happy as much as Ahmed Celayir. Abdiilkadir becomes fri end with Timur' s grandson Gxyasiiddin Muhammed Mirza and other members of the family, and he composes Devr-i Mieteyn rhythm which was tho longest rhythm (usûl) of our music (upon Muhammed Mirza' s request). Some time later he escapes Miran Shah. He wants to go to Baghdad to Sultan Ahmed Celâyir' s palace, to his master, music teacher and friend. But the meaning of this was betreyal and its penalty was execution. Abdiilkadir had reasonable reasons. Miran Shah sends an order for the execution of three persons. It is rumoured that: Meragi was among these three persons. Later on, when Meragi was in Sultan Ahmed's palace, Baghdad City is captured by Timur as a second time, on 10 July 1401. Meragi is brought again to the presence of Timur. (Accoring what Handmir says), Meragi recites some verses from Quran in an excellent way, Timur forgives him and he becomes again the head musician of the palace. This case, most probably, happened in 1401 before the second capture of Baghdad by Timur. Timur 's royal letter (berat) dated 1398 shows that Meragi is at Semerkant at this date. This berat which was given on 20.3.1398 is in Persian and was written as it was said by Timur personally. There is a copy of this in Meragi's book named Makaasidii'l Elhan. It is understood that Sultan Timur was fond of Meragi and has accepted himas an exceptional musician. The original issue of Makaasid which consists its corrections by our composer with its hand writings is Rauf Yekta Bey issue and this document (royal appreciation letter) is at the end of the book. Its title is: `Sûret-i nişân-ı Emîr-i Cihangîr Emîr Timur Gürkan`. He names Abdiil kadir «s `Hazret-i Hâce`. These have been dictated to Mevlânâ Şemsüddin-i Mün- şî by Timur th ruler himself in person. Abdiilkadir, who was an extraordinary learned man, becomes a very close friend of Sultan Timur and after his deathin 1405 (807H) he keeps his position during his grandson Halil' s sultanate who comes to Semerkand on food and ascends the throne. Halil addresses Abdiilkadir nonpareil person, and he respects to him very much. Abdiilkadir has been written this, in his book named `Fevâid-i Aşere`. When he was together with Sultan Halil in Hokand they hear a turtledove singing. The Sultan orders him to compose a rhythm in this metre (vezin) andso he composes `kumriye` (belongs to turtledove) rhythm which is with eight beats. xAt last Abdiilkadir was the attendants of Timur' s forth son Şahruh. He has written the last part of his autobiography as an address to Şahruh and he has dedicated his famous book `Camiü'l Elhan` to Şahruh, (that when he was Horasan Governor in 1407, he has taken the throne from Halil and sent him to Rey andhas made Herat capital). Devletşah gives important informations about Abdiilkadir' s life in Herat Palace (1). Devletşah states that in addition to Hanende (singer) Yusuf -ı Ezkaanî, engineer Kıvamüddin and painter Halil, Ab diilkadir is a nonpareil also. He adds that (in another part), in the presence of Sultan during a meeting he has examined Sheikh Azerî, with Hace Salman's poems, and Azerî gives very good replies. Meragi composes a rhythm for Şahruh also. He states in Fevâid-i Aşere that he arranges this in Bag-i Zegân andcalles it `Devr-i Adl`. He has expressed Sultan's justice i8 28 beats. He passes his last days in Şahruh1 s Palace and stays in Herat up to his death (4). Meragi is burried in Herat. His tomb is unknown today. He got married to the composer Riyaziiddin's daughter. Probably he got 3 sons of her. Nürüd- din Abdurrahman's birth day is 1394. Nizamiiddin Abdiirrahim's birth is 1398 and Abdiilaziz's birth is 1411 (813H). Abdiilkadir tells about his first and second sons in his Camiii'l Elhân, but does not say anything about his third son. May be he was born after this book has been written. The strongest and the latest rumor is that Hoca Abdiilkadir has come to Ottoman Empire in Yildxnm Bayazid's time, in Fetret (interregnum) period and at last to Bursa after a short time of Sultan Murad the 2nd' s enthronement (1421). The issue that was completed in 11.2.1423, of Makaasıdü'l Elhân which is in Rauf Yekta Bey Library, has been introduced to Sultan Murat the 2nd. This case can not be refused. Certainl, Hoca was dead long before Fatih' s enthromenet. The man who comes to İstanbul and introduces his book to Fatih (Mehmed the Conqueror`) is not Hoca Abdiilkadir Meragi, he was his son. Has Makaasid been sent to Ottoman State from Herat (being written), or has it been introduced personally by the writer (Meragi) during his visit the Sultan Murat? We can not give a definite answer. But that time itwas a custom that such a book shoud be introduced to the Sultan directly by its writer in person. And the Sultan was used to make a payment (caize) taking the writers personality into consideration and according to his appreciation. Abdiilkadir Meragi is the greatest of Turkish musicologists that reach XX. Cen tury after Safiyiiddin. The books that have been written by Hoca Abdiilkadir Meragi have been stated below: 1 - Camiii'l Elhân: It means the book that gatheres the melodies. It is Abdiilkadir ' s most important and greatest book on musicology. It has been written in 1405 and has been dedicated to his son Nûriddin Abdurrahman. Abdiilkadir has revised it in 1413 and has dedicated this new issue to Sultan Şahruh. Another issue is dated 14.4.1415 (3 Safer 818) and is dedicated to Sultan Şâhrfi. Music theories (sounds, sound groups, modes, rhythms), instruments, singing, and old musicians are being explained. But about old musicians, their names have been given mostly. There is no biography. The poems of the compositions given are mainly Persian, sometimes Arabic. We see Turkish poems also. In this book or in his book that will be stated in paragraph 2 below (Makaasıdü'l Elhân, Meragi clas ifies the main modes in this way: 12 modes: Uşşak, Neva, Buselik, Rast Hü seynî, Rehâvî, Zengüle,Irak, Isfahan, Zirefkend, Büzürg; 6 Avâze (Avâzât-ı Sitte): Nevruz, Selmek, Gerdaniye, Geveşt, Mâye, Şehnaz; 24 Şube: Dügâh, Segah, Çargâh, Pençgâh, Aşiran, Nevrûz-i Arab,. Mahur, Nevrûz-i Hârâ, Beyâti, Hisar, Nühüft, Uzzal, Eve, Nikrîzî.Müberkaa, Rekb, Sabâ, Hümâyûn, Zavilî, Isfahanek, Hûzî, Nihâ- vend, Muhayyer, Bestenigâr, The majority of these modes are being used today in xiTurkish Music. But mostly, the arrangements are different, and we have some melodies in Ebced system also. 2 - Makaasıdü'l Elhân: The meaning of the name of the book is `The aims of Melodies`. Like `Câmiü'l Elhân` only the name of the book is Arabic. Both books are in Persian. After Câmiü'l Elhân the most important musiciligy book of Abdiil- kadir, is this one. Ih has been compiled in Timur1 s family time. Some subjects are nearly the same as in Câmi'ü'l Elhân. But it has been compiled later. But due to that, one of the two issues (6) is dated 21.11.1418 it can be thougt that the book has been finished at this date. Meragi, on 29 Safer 826, completed this book revising and has introduced this to Sultan Murat (Fatih Mehmed's father) who had completed his 19 years of age at this date, (as 4 moths less). The issue dated 1418 was to the name of Baysungur Mirza, it is understood that Meragi has intended to obtain a payment (caize) from Sultan Murat the 2nd. Meragi, at the and of this issue states his dedication to Sultan Murad, with hiscaligraphy. This issue was in Rauf Yekta Bey Library. It has been sold in April 1985 in Lon don in an auction, (11.000 Pounds). It is in Leiden University Library, among the East Books (OR. 270-71, 1061). It is the one that carries the dedication to Sultan Murad the 2nd. Its name is `Kitâb-ü Mekaasıd-ı Elhân fî Ilm-i Te'lif-i'n negâm we'1-Ewzan. It is understood that the Oxford issue was the property of Abdülaziz Çelebi who is Meragi' s 3rd son who was living in Istanbul, because the book on its last page has Abdülaziz Çelebi 's hand writing and signature. So it has been taken to London from Istanbul. (1) In this book there are some music parts wtitten in ebced (an old music alphabeth).(2) In Sultan Murad issue there is a picture of Kâseler (Cups) instrument. In addition, there is a quatra in of Şeref -i Rûmî written for this instrument invented by Merâgi and the pic tures of some changes made by Merâgi on the instruments named Kaanûn-i Murassa-i Müdevver and Sâz-ı Elhân. One more issue of Makaasıdü'l Elhân is in Topkapi Pa lace and this book has been printed in Iran two times. 3 - Kenzü'l Elhân; means `Treasure of Melodies`. A music magazine, There is a theory part at the beginning and it contains a lot of Kâr, Nakış and other settings and selected compositions of other composers written in ebced alphabeth. No issue of this book has been found by now and Rauf Yekta Bey says `It is the most important book of Meragi` that this is right, (sllO). It is though that the theoric knowledges written at the beginning are the summaries of the other books. May be there was some explanations about ebced notes. If we could have these ebced musics these could be treasure in our hands And we could now a lot about the old Turkis Music about XIV. Center and before. Kâtip Çelebi states this book in 1650s. May be he had seen this book. Abdülkadir, towards the end of Mekaasid says that there is 100 müfredat (several settings) and 30 nevbet-i mürettebe. Perhaps, they were mainly his own musics, his own settings. It is obvious, why these musics could not reach to our time. On Turkish Music tea ching and in singing, the written texts have not been used. The ebjed note also has been used to give some samples only. For this reason his music magazine has been understood as a pile of letters may be and have been lost. Today the first and the second music magazines of this kind, have been written by Ali Ufkî and Kantemiroğlu in the middle and at the end of XVII Century. They were ori ginally Christian and they were converted to İslâm. The first one (Ali Uf kî' s) is in west note. The second one (kantemiroğlu 's) is in Ebced Notes. Second one and the note (music) magazine of contemporary composer Kutb-ı Nayî Osman De de have been lost. 4 - Şerhü'l Edvar: This book is in Persian. It is the explanation of Sa- wiyuddin's famous book. Şerh-i Kitâbü'l Edvar, Şerhü'l Edvar, Şerhü'l Kitabi' 1 Edvar are the titles seen on the several issues of the same book. In this book since the `Câmiü'l Elhân` and `Mekaasıdü'l Edvar` names have been written af ter these and certainl has been compiled in Timurs time. Whether Nûruosmaniye (No:3.651, a copy of this, is at Arel Library or Topkapi Palace (III.Hmed 3470) copies are belong to the XV. Century. THere are copies in Tahran that they are xiicopied in hand writing in 1547 at Şirâz.It is in 15 Chapters, like Sa- fiyüddin's book. One more copy is in Rauf Yekta Bey Library, (Esatiz,II,95,st. 1-2). 5 - Zübdetü'l Edvar; The Persian work that carries the name `Edvar' s Summa ry`, is the less changed one of the Şerhü'l Edvar above. It has been bought by Miinif Bey who was councillor in Tahran Ottoman Embassy that time. It has beenbrought to Istanbul and has been given to Rauf Yekta Bey as a present. Although Rauf Yekta Bey says that there is not any other copy of this in Is tanbul, it is a different one of above stated Şerhü'l Edvar. In this book Meragi says that Uşşak, Neva, Buselik, Segah, Irak, Pençgâh, modes are very suitable for bravery feelings and for the characters of Turks and they like these modes very much. 6 - A Turkish Edvar (book written about musical rules) named Kitâbü'l Edvar, is the only book that has been written in Turkish by Meragi, not Per sian. The only issue is in Leiden University Library, Holland, among East Books reg.no. 1175. However we were in need of studying this book, this one stayed as the only book we could not see, of Meragi. 7 - Fevâid-i Aşere: It means `Ten Useful Things. The issue which is in the writer's hand writing (caligraphy) is in İstanbul, Nûruosmâniye Mosk Library (reg.no. 3651/1) and its copies are in Istanbul Municipality Library and in Arel Library, Turkology Institute. This is also an Edvar written in Persian. There are some Knowledges that have not been told in other books. 8 - Telhis-i Câmiü'l Elhân: This is the one of Meragi' s famous book that abbreviated by meragi in person. There are a few written copies. 9 - Zikrü'n-Negam ve Usulhâ: This book containes the settings of Mera gi that have been taken Vienna Persian copies (writings), (no:829/2). We are not sure that it has been arranged by Meragi in person or its name ha been given by him. Berlin (1738) and Gotha (1350/3). In Persian copies also there are Meragi' s settings. Many Edvârs that have been prepared later on, containes parts from Meragi, abbreviated, as the same or with some chan ges or translating into Turkish. Meragi' s biography is among the 40b-41b pages of Şerhü ' 1-Edvâr copy (No: 4 above) that carries the name Şerhü ' 1-Ki tâbi ' 1-Edvâr, Topkapı Palace, Ahmet the 3rd Library, No. 3. 47. In the esame issue among 40b-41b pages there is a Persian autobiography of Meragi in verse, that the Turkish trans lation of this text by Kerimov and Süreyya Agayena have been printed. Very important knowledges that Meragi has given on Music' have drown the attention of western scholars, not as much as Saf iyüddia 'but they have studied the system that has been told by Meragi also- Among these scholars we see Von Kiesewetter, Von Helmotz that these are the founders of the- physics of music, and François-Joseph Fetis (a very great music historian) and J. P.N. Land musicologist (ls65). Abdiilkadir writes in his Mekaasıdü ' 1-Elhân that his father was a very great musician and scholar in several sciences and during his childhood he had thought him music and many sciences. Meragi is known as a master first of all in caligraphy (cell hat), Quran reciting (ilmi kıraat), and poetry. Hesays in thne preface of Câmiü'1-Elhân: `Allah made me known the whole Quran by heart at my child ages. After I owed this honor, I was inclined in music. I saw myself very talented for music. I have red all music books in a very short time, even I have memorized them. In addition to these theoritical works I have studied the compositions of great composers. I have studied day and night. And I have not imitate anybody in my settings, I have stayed original. It was not enough to know the mother language Turkish and the lite rature language Persian, to read the music books as he was memorizing. It was necessary to know Arabic very well. Because during his age the bookr xiiithat he says `I have red`, were Arabic, nearly all of them. So, we un derstand that while he was studying Quran he has learnt Arabic also, very well. He was born as an unseen talent and genious, he worked so hard and at the end he became uncomparable composer, a music scientist and a reci ter (singer and oud player). In the course of time he came to such a point thata Sultan like Timur, in his imperial letter (nişan), he says about Abdiilkadir: `The greatest of the owners of great culture, the teacher of mankind, peerless master of music in theory and composin and in reciting, also caligraphist, poet a good speaker, hafız (he knows quran by heart), nedim (intimate friend), a perfect man, a man of society, handsome and beautiful. He is my intimate friend, for these reasons he has been appreciated by me as superior to all masters. I wish everybody has to appreciate him like me`. It is said that no sovereign has given such an imperial reward (nişan) to any artist or schoXax* No `doubt that the reason for this and for his good life waswas his super character. Meragi has not seen any deprivation in his life on the contrary of Safiyiiddin who was in destitution during his old ages. Many poets praised Meragi during his life time. Muînüddin Isfizârî, poet and painter, writes that he died of plague infection between 6.2 and 12.5.1435. After two centuries Kâtip Çelebi Writes that Safiyiiddin and Abdiilkadir were two peaks of music scienci. Devletşâh who writes in his book in 1491 in Herat, at the end of Nûrüddin Ni'metullâh's biography states that Meragi is unique in music and ilm-i edvar (book on musik), and in the biography of İbn-i Hiisam-x Herevî states that he has composed a poem of `Abdiilkadir-i Ûdî (Abdiilkadir the Oud Player). And in Sheikh Ârif-i Azerî' s biography he writes his discussion with `Hâce Abdülkadir-i Ûdî; the master`. I Ha- fız-ı Şirazi's biography he says that Sultan Ahmed-i Celâyir was excellent in music and ilm-i edvar and he had written books and he was one of the Sultans invited famous Meragi to his palace; Even, there are persons that they say, he had practiced settings to Meragi. Today also Sultan Ahmed's instrumental and vocal settings are popular among singers and instrumentalists (in 1491), Devletşâh says. So he states that Abdiilkadir is a great composer. According to Ottoman musicians, Meragi is a classic sample. If one says `Hoca` (Professor or Master) Abdiilkadir is understood. Abdiilkadir has invented new modes and rhythms like many famous com posers. He writes himself that he has made Darb-ı Bedî in 1381, Darb-i Fetih (49 times) in 1382, Devr-i Şâmî (30 times in 1393, Devr-i Mieteyn (with 200 times) towards 1385, Devr-i Kumriyye (8 beatings) in 1405, and in 1409 Devr-i Adl (28 beatings) rhythms. There is no reason to write the distribution of these rhythms here. Because many of these rhythms were not suitable for Ottoman pleasure. Although Darb-ı Fetih has been used by Otto mans but not as Abdiilkadir tells in his Fevâid-i Aşere (v. 95a) about it, Some changes have been done according to Ottoman taste. Ottdman Darb-ı Fetih rhythm is with 88 times and 64 beats, it has rhythm `suite`s, and is the longest usûl(rhythm) out of Zencir and Darbeyn, during past centuries it has been used in(peşrev/prelude)s and less than these in Beste form musics, and other. Oral settings. It is rarely seen in XIX century. The Darb-ı Fetih Usûlü (Darb-ı Fetih Rhythm) that has been made to the honor of Ahmed Celâyir, accor ding to definition of its inventor Meragi, is with 98 times. As for the Ottoman Darb-ı Fetih has been arranged by adding a part with 22 times to the Hâvi Rhythm which is with 64 times. xivAbdiilkadir has worked on instrumentation not only from theoritical point of view but he has worked on instrument making also. He has made some new instruments and he has renewed some instruments changing some of spe cifications of some instruments. He was decorator (nakkaş), painter (mu- savvir) and caligraphist, and we understand that he was an instrument maker also in addition to his other qualities. In Fevâid-i Aşere (v. 108a), he says that he has made the Kâsât-ı Çînî (Porcelaine Cups) that that was a new instrument, he had made it in January 1378 to the honor of the Sheikh Sadrüddin-i Saf evi., and he has drown this instrument in this book. It was an instrument with plactrum and mad of porcelaine cups. But in old Arab Music there is an instrument named `kâsât` (Cups). Meragi was a unique singer, oud player and a great musicologist and no doubt that his most important side is his being a great composer. He has been accepted as the greatest example composer of Classic Turkish Music, and he has been reached only by Itrî. His importance as a composer is limited with his settings but it is understood from other sources he is over the composers whom lived before him. We do not have any of Abdiilkadir' s instrumental setting in our hands. His oral musics have been written in XIX. Century. We do not have any of his settings written in XVIII century. The XIX Century Masters have written these hearing from their teachers and memorizing. So they have come to these days from genetation to generation by hearing and memorizing than at last writing. The old Güfte (songpoems) Magazines are very good sources about Abdiilkadir' s settings. We have already 30 settings that we accept as Abdiilkadir 's. To make sure also we have to study güfte ( song poems) magazines not only in Turkey but in Iran and in other countries concerned. The Ottomans have named him as `Üstâd-ı Cihan Abdülkadir` (Master of the World Abdülkadir). Hoca Aödülkadir in his Câmi'ü'l Elhân (issue dated 813-1410), in the preface states that he can not find student to make the settings memorized. He tries to make practice with his two sQns and tries to teach his music knowledges, to them. He complains that the students wants to learn easy songs only and populaire ones not the hard and artistic ones, (4). Ismail Baha Sürelsan, a known composer and musicologist of today says that: `According to this situation Abdülkadir has practiced his average settings to his students and they have reached to our days. These 30 settings that we have in hand are due to these teachings.` In the course of time, the words, the meanings and pronunciations have changed in the mouths of musicians. Rauf Yekta Bey says that some poems are in slang language, so these can not belong to 'Abdülkadir, but may be this is not right. Because in XVIII century Tab'î one of the greatest composers has composed some slang poems. It is said that Rast (Rehâvi) Yürük Semai has been composed by Meragi but Rauf Yekta Bey says that this poem is belong to a Persian Poet named Sheikh Feyzî-i Hindi who has lived in India in XVI th Century, so the setting can not be belong to Abdülkadir, that this can be possible. Some poems of Abdülkadir' s settings are belong to Hafız-ı Şîrâzî. Hafız is one of the greatest poets of the world and the greatest of gazel form. He is contemporary of Abdülkadir and older than than him. He has absolutaly got acquainted with Abdülkadir and of course he should compose the poems of the greatest poet of the time. xvThe `Nevbet'i Miirettebe` which is the most artistic setting of Abdiilkadir has not reached to our time. During his youth he has composed one Nevbet-i Miirettebe everyday during Ramadan month, that makes 30 compositions of this form. This is a business of a genius composer. This is not a skill of another kind of composer. Because a Nevbet-i Miirettebe is a serias of compositions, (fasıl). It is a `suite` that formed of seve ral settings of the same mode in a principle, one after another. Today very beautiful forms of TurkishMusic that reflects its taste and may be they have been changed during Ottomans time according to their pleasure, are Kâr, Beste, and Semaî. These are the well known forms of Turkish Music which are in great form (Büyük Form) and composed on classic poems. Now, we record the 29 settings as Meragali's compositions. : 14 Kâr, 5 Beste, 10 Semaî (2 Ağır and 8 Yürük Semaî). Most of the`Beste`s and`Semâî`s are `Nakış`. At the end of our research, we have found 24 settings and we have studied. Our studies were from the viewpoint of poems of the settings. The poems have been taken from their copies that have been written in old alphabeth, and checked and written in accuracy. Than, the Persian poems have been trans lated into today's Turkish. From the other hand, the settings have been reviewed from the rhythm (usûl) viewpoint. Than, we have found the prosody (aruz) construction of the poems that have been written in Persian, and have been shown how they have been adapted to the rhythm beats, (with diagrams). We hope that this work which comprehends the settings of Abdülkadir that we.could find, and their accurate texts of music (güfte), and their explana tions and study from the poem-rhythm (güfte-usûl) point of view, will be help ful to the coming generations.