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MA'RİFET-İ MÜSİKİ EDVÂR-I FÂRÂBİ (HASAN ALI KARAMANİ)

Title	MA'RİFET-İ MÜSİKİ EDVÂR-I FÂRÂBİ (HASAN ALI KARAMANİ)
Author	Hasan Ali Karamani (d. ? - ö. 807/1404-5 ?)
Publication Date:	06/12/2021
Subject	Written Literature / Divan Literature - music media
Type	Other
Language	Persian
Digital	No
Manuscript	No
Library:	Dictionary of Turkish Literature Works
Record ID	marifet-i-musiki-edvar-i-farabi-hasan-ali-karamani
Date	Between 786-807/1385-1405 ?
Notes	The work of Hasan Alî Karamanî. It is the oldest musical instrument written in Anatolia. The only known copy; It is between pages 101b-115b of the manuscript located at Suleymaniye Library, Hasan Hüsnü Collection, number 618. The work, organized in two parts, was written in Persian and in talik calligraphy. It consists of 34 chapters in total, 25 in the first part and 9 in the second part. From the seal in the magazine containing the work called Ma'rifet-i Mûsikî Edvâr-ı Fârâbî and the waiver record of a work in the same volume, it was written by Hasan bin Alî in a Mevlevi circle in Karaman, 786/1384-85. It is estimated that it was written between 807/1404-5. Although the author's name is seen in the title of the work, it is not mentioned in the sources that he has a Persian edvar, and since the maqam names and classification mentioned in it were not known in his time, it is understood that he has nothing to do with the famous Fârâbî (Uslu 2016: 149). It can be said that the author used Fârâbî's name to provide historical support for his work. The work belongs to the edvar group that explains the explanations of the maqams in prose. The fact that he talks about the cycle theory of the Systematic School, which is the pioneer of the classification of 12 maqams and 6 avaza maqams, and which maqam is formed in which circle, shows that the author has knowledge about the old maqams. On the other hand, the fact that he lists maye as one of the 12 maqams instead of hijaz indicates that he was also influenced by the Egyptian Edvar school. In this work, Hasan Alî Karamanî abandoned the method of explaining the 17 frets on the absolute string, which the systematists emphasized. Two different lists of 6 avazas, one of which shows the hijaz and the other the same as the Urmevi avazas; He gave both a maqam classification as 12 maqams, 6 avaza, 4 branches and 48 compositions, and another list consisting of 26 branch names instead of compositions. Karamanî differed from Urmevi with his views on which makams the 6 avazes were born from, and influenced Neyzen Yûsuf Kırşehrî Mevlevi (d.828/1425), one of the most important people who spread the music theory school in Anatolia. There are a total of 75 makams in Ma'rifet-i Mûsikî Edvâr-ı Fârâbî. Its name and more than 48 compounds have been mentioned. In addition, the names of the instruments "sakil, light, düyek, hezec, türkidarb, fahte" and "ud, kemence, ney, pise, rebab and niyaz" are given. Apart from these, information is given about the authorities that influence people according to zodiac signs, stars, seasons, climates, days, hours of the day, skin colors, temperaments and professions. In the fifth chapter of Edvar, the author states that in order for a musician to be successful, he must know mathematics, astronomy, geography/climate information and the therapeutic effects of music. No names other than Urmevî and Fârâbî are mentioned in the edvar, and musical mythology and musical forms are not mentioned. Although the work bears some influences from different schools of musical expression, it is the oldest known musical edvar of the New Systemists School, which is based on practical expression, written in Anatolia. It is understood that the work was written in Anatolia in the early period, based on the fact that it includes maqams such as "bahrinazik, hoceste, nihavendrumi, nevruzrumi,sosyaldersebz", which were first described in Anatolia and whose compositions were found in the 15th century lyric magazines. Ma'rifet-i Mûsikî Edvâr-ı Fârâbî was published by Recep Uslu. (2021b).
ISBN	978-9944-237-87-1
Madde Yazarı	Doç. Dr. Recep Uslu
Alfabesi	Arap
Yapısı	Mensur
Niteliği	Telif
Kaynakça	Popescu-judetz, Eugenia (2010).A Summary Catalogue of the Turkish Makams. İstanbul: Pan Yay. Uslu, Recep (2016).Müzik Bibliyografyası -1 Kitaplar. İstanbul: Çengi Yay. Uslu, Recep (2021a). “Hasan Ali Karamani”.İslam Medeniyetinde Bilim Öncüleri: Musiki. (ed. M. Azimli ve S. Dinç). İstanbul: Mana Yay. Uslu, Recep (2021b).Marifet-i Musiki Edvarı - 1385?. Ankara: Akademisyen Yay.
Atıf Bilgileri	Uslu, Recep. "MA’RİFET-İ MÛSİKÎ EDVÂR-I FÂRÂBÎ (HASAN ALÎ KARAMANÎ)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/marifet-i-musiki-edvar-i-farabi-hasan-ali-karamani. [Erişim Tarihi: 25 Ağustos 2025].

View in source Dictionary of Turkish Literature Works

Dictionary of Turkish Literature Works

MA'RİFET-İ MÜSİKİ EDVÂR-I FÂRÂBİ (HASAN ALI KARAMANİ)

Author Hasan Ali Karamani (d. ? - ö. 807/1404-5 ?)

Publication Date 06/12/2021

Subject Written Literature / Divan Literature - music media

Type Other

Language Persian

Digital No

Manuscript No

Library Dictionary of Turkish Literature Works

Record ID marifet-i-musiki-edvar-i-farabi-hasan-ali-karamani

Date Between 786-807/1385-1405 ?

Notes The work of Hasan Alî Karamanî. It is the oldest musical instrument written in Anatolia. The only known copy; It is between pages 101b-115b of the manuscript located at Suleymaniye Library, Hasan Hüsnü Collection, number 618. The work, organized in two parts, was written in Persian and in talik calligraphy. It consists of 34 chapters in total, 25 in the first part and 9 in the second part. From the seal in the magazine containing the work called Ma'rifet-i Mûsikî Edvâr-ı Fârâbî and the waiver record of a work in the same volume, it was written by Hasan bin Alî in a Mevlevi circle in Karaman, 786/1384-85. It is estimated that it was written between 807/1404-5. Although the author's name is seen in the title of the work, it is not mentioned in the sources that he has a Persian edvar, and since the maqam names and classification mentioned in it were not known in his time, it is understood that he has nothing to do with the famous Fârâbî (Uslu 2016: 149). It can be said that the author used Fârâbî's name to provide historical support for his work. The work belongs to the edvar group that explains the explanations of the maqams in prose. The fact that he talks about the cycle theory of the Systematic School, which is the pioneer of the classification of 12 maqams and 6 avaza maqams, and which maqam is formed in which circle, shows that the author has knowledge about the old maqams. On the other hand, the fact that he lists maye as one of the 12 maqams instead of hijaz indicates that he was also influenced by the Egyptian Edvar school. In this work, Hasan Alî Karamanî abandoned the method of explaining the 17 frets on the absolute string, which the systematists emphasized. Two different lists of 6 avazas, one of which shows the hijaz and the other the same as the Urmevi avazas; He gave both a maqam classification as 12 maqams, 6 avaza, 4 branches and 48 compositions, and another list consisting of 26 branch names instead of compositions. Karamanî differed from Urmevi with his views on which makams the 6 avazes were born from, and influenced Neyzen Yûsuf Kırşehrî Mevlevi (d.828/1425), one of the most important people who spread the music theory school in Anatolia. There are a total of 75 makams in Ma'rifet-i Mûsikî Edvâr-ı Fârâbî. Its name and more than 48 compounds have been mentioned. In addition, the names of the instruments "sakil, light, düyek, hezec, türkidarb, fahte" and "ud, kemence, ney, pise, rebab and niyaz" are given. Apart from these, information is given about the authorities that influence people according to zodiac signs, stars, seasons, climates, days, hours of the day, skin colors, temperaments and professions. In the fifth chapter of Edvar, the author states that in order for a musician to be successful, he must know mathematics, astronomy, geography/climate information and the therapeutic effects of music. No names other than Urmevî and Fârâbî are mentioned in the edvar, and musical mythology and musical forms are not mentioned. Although the work bears some influences from different schools of musical expression, it is the oldest known musical edvar of the New Systemists School, which is based on practical expression, written in Anatolia. It is understood that the work was written in Anatolia in the early period, based on the fact that it includes maqams such as "bahrinazik, hoceste, nihavendrumi, nevruzrumi,sosyaldersebz", which were first described in Anatolia and whose compositions were found in the 15th century lyric magazines. Ma'rifet-i Mûsikî Edvâr-ı Fârâbî was published by Recep Uslu. (2021b).

ISBN 978-9944-237-87-1

Madde Yazarı Doç. Dr. Recep Uslu

Alfabesi Arap

Yapısı Mensur

Niteliği Telif

Kaynakça Popescu-judetz, Eugenia (2010).A Summary Catalogue of the Turkish Makams. İstanbul: Pan Yay. Uslu, Recep (2016).Müzik Bibliyografyası -1 Kitaplar. İstanbul: Çengi Yay. Uslu, Recep (2021a). “Hasan Ali Karamani”.İslam Medeniyetinde Bilim Öncüleri: Musiki. (ed. M. Azimli ve S. Dinç). İstanbul: Mana Yay. Uslu, Recep (2021b).Marifet-i Musiki Edvarı - 1385?. Ankara: Akademisyen Yay.

Atıf Bilgileri Uslu, Recep. "MA’RİFET-İ MÛSİKÎ EDVÂR-I FÂRÂBÎ (HASAN ALÎ KARAMANÎ)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/marifet-i-musiki-edvar-i-farabi-hasan-ali-karamani. [Erişim Tarihi: 25 Ağustos 2025].