This study analyzes Orhan Gencebay's works from both musical and literary perspectives. The research begins by scanning sources such as books, articles, theses, recordings of the works in the album, and sheet music. Additionally, Orhan Gencebay was interviewed to obtain information about the musical and literary content of the ten works in the album 'Batsın Bu Dünya,' which was published in 1975. The musical and poetic aspects were examined using digital media and literary terms, respectively. The lyrical style and artistic expressions were also identified. The text is now more objective, concise, and follows a logical structure. Technical terms are explained, and the language is clear, formal, and free from bias. The grammar, spelling, and punctuation are correct, and the text adheres to the required format and style guide. No new content has been added. The study analyzed the maqams and usuls of the compositions in the album 'Batsın Bu Dünya' by Orhan Gencebay. Orhan Gencebay, who studied Western Music, Turkish Folk Music, and Turkish Art Music at an early age, blended these musical styles in his own compositions. His compositional skills, particularly his active use of the three strings of the baglama in various positions, and his ability to express the feelings of the people have contributed to his popularity since the 1960s. After analyzing the ten works in the album 'Batsın Bu Dünya' musically and literarily, it was determined that the works were composed in the following makams: nihavent, muhayyer, muhayyer kürdî, rast, buselik, kürdî, uşşak. The usul structures used were düyek, nim softan, and sofyan usuls. It has been determined that the poet uses tecahül-i Arif, nidâ, tekrir, tezat, istifham, teşbih, teşhis, telmih, and istiare arts in his lyrics. His poems are written in quadruple units and bent form, with various types of rhyme such as full rhyme, rich rhyme, and assonance. The poet also employs redifs as suffixes and includes various words and idioms.
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ARSLAN et al. (2024) studied this question.
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