EDVAR KİTAPLARINDA “NEVBET-İ MÜRETTEB”: METİNLERARASI BİR YAKLAŞIM

Nevbet-i müretteb is a cyclical music genre consisting of four or five parts that has undergone a transformation adventure of hundreds of years. Nevbet-i müretteb, which started with the nuba in Baghdad in the 8^th century and has survived under different names with changes in different geographies; from a historical perspective, it can be evaluated in four phases. This cyclical music genre, which emerged with nuba in the first phase, continued its existence in North Africa with names such as al-ma'luf, al-âla, nawba, as a result of various migrations and intercultural interactions in the second phase; in the third phase, he had a highly respected period in music circles under the name of nevbet-i müretteb in Iran and Azerbaijan. In this fourth phase, which continues to spread as dastgah in Iran and mugam in Azerbaijan, at the time we consider as the end of the same universe; it exists as waslah in Syria and Egypt, and as shashmakom in Uzbekistan and Tajikistan. The aim of this study is to examine the explanations of nevbet-i müretteb, especially in 15^th century edvar books, in the context of intertextuality. In our study, the relations between the nevbet-i müretteb explanations in the works of Seyyid Şerîf Cürcânî, Abdülkadir Merâgî, Benâi, Yusuf Kırşehrî, Hızır bin Abdullah, Alişah bin Hacıbüke, Seydî and Necmeddin Kevkebî are examined with an intertextuality approach. At the end of this study, it has been seen that the definitions of nevbet-i müretteb in different sources show similarities with each other on the basis of intertextuality.