Akademik Veri Yönetim Sistemi
Online Journal of Music Sciences, cilt.10, sa.2, ss.369-383, 2025 (Scopus)
Contemporary Turkish composer Hatıra Ahmedli Cafer was born in Baku and started her piano education at a young age. When the composer’s works are analyzed, it is seen that she intensively uses the piano as a basic means of expression, reflecting technical mastery and artistic depth. While containing different piano techniques in her works, she also blends elements of folk music with a modern understanding, presenting a unique synthesis of traditional and contemporary musical languages. This study is a comprehensive analysis of Ahmedli Cafer’s piano piece titled “Üç Bayatı”, composed in 1996. The work not only demonstrates the composer’s technical and artistic competence in piano writing, but also her ability to interpret Azerbaijani folk music traditions from an innovative perspective. The research aims to gain a more detailed understanding of Ahmedli Cafer’s artistic vision and her contributions to contemporary Turkish-Azerbaijani music through an in-depth study of the stylistic, structural and technical characteristics of “Üç Bayatı”. The data for this study is based on the performance of the works, analysis of the recordings and analysis of the notation. The anonymous Bayati in Azerbaijani oral literature inspired the composer’s piano piece titled “Üç Bayatı” (Three Bayati). Inspired by the folklore, the composer has carried the expression and timbre possibilities of the piano beyond the traditional patterns with an innovative writing technique. The Bayati, which are expressed in 7 syllables and quatrains in oral literature, were completed to 33 measures in the 1st and 3rd Bayati by the composer, while the 2nd Bayati, despite its unmetered structure, was designed to correspond to 33 measures in 2/4 beats.