"Beste", which means connecting melodies to each other in Turkish Music, is one of the most important Oral forms among the Lâdini forms in Turkish Music. There are two different forms of "Beste". These are "Murabba (Quadrate) Beste" and "Nakish (Nakış) beste", which have their own qualities in terms of composition technique. In this study, the form analysis of “Murabba” compositions, one of the works of Hamâmîzâde İsmâil Dede Efendi, who has a very important place among Turkish Music Composers and who has created hundreds of works in almost every form, has been made. First of all, a detailed repertoire and literature research has been done, and the works of Hamâmîzâde İsmâil Dede Efendi in the composition form have been determined, then all of them have been examined, and the ones that have been composed in the form of murabba have been listed for the analysis. Formative analyzes of 25 Murabba Bestes have been made one by one in various themes listed, and 11 form charts have been identified as a result of the analysis. Besides determining the form schemes used by Hamâmîzâde İsmâil Dede Efendi in Murabba Beste, the composition style of Hamamizâde İsmâil Dede Efendi has been analyzed and tried to be determined with this study. Another purpose of the study is to determine the Murabba Form Schemes that can be encountered in Murabba Beste in Turkish Music and to constitute an important source that the new generation composers who continue to produce Turkish Music in the determined forms can take reference to keep the tradition alive.
Keywords: Dede Efendi, Murabba (Quadrate), Composition, Form, Analysis