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İhvân-ı Safâ, Pythagoras okulunun 10. yüzyıldaki temsilcileri ve pekçok ilim dalında onun takipçileri olduklarını ifade etseler de, özellikle müzik alanında Pythagoras’ın yaşadığı M.Ö. 6. yüzyıldan kendi yaşadıkları döneme kadar oluşmuş ve bir gelişme seyri izlemiş müzik düşünce ve birikimlerinden de etkilenerek ve bunu kendi müzik düşüncelerine katarak bir müzik düşüncesi ve “müzik düşünce biçimi” meydana getirdiklerini söyleyebiliriz. Gezegenlerin hareketinin Ud nağmeleri gibi olduğunu, Ud’un dört telinin, toprak, ateş, hava ve su gibi tabiatın dört ana unsuruna karşılık geldiğini ileri sürmek, bugün için bile oldukça yeni ve heyecan verici görüşlerdir. Ancak İhvân-ı Safâ’nın bu düşüncelerinin de genellikle, üstadları kabul ettikleri Pythagoras’ın kosmos anlayış ve düşüncesinden mülhem düşünceler olduğunu hatırlatmak isterim. Her ne kadar Pythagoras etkisi olsa da, İhvân-ı Safâ’nın müzik ve kosmos ilişkisi hakkındaki bu düşünce ve yorumlarını Ud üzerinden kurup izah etmeleri, bu düşüncenin ve izah biçiminin orijinal olduğunu göstermektedir. Çünkü Ud, İhvân-ı Safâ’nın yaşadığı dönemlerde ve sonrasında da, hem bölgelerinde hem de genel anlamda İslâm müzik çevrelerinde en muteber enstrumandır. Ud, adeta İslâm müzik kültürünün ve medeniyetinin ortak bir enstrümanı gibidir. Ne Pythagoras’ın kendi düşüncelerinde, ne bu okula bağlı Pythagorasçılar’da ve ne de İhvân-ı Safâ’ya kadar diğerlerinde bu şekilde bir “müzik-kosmos ilişkisi” kurmaya yönelik bir bilgi görülmemektedir. İhvân-ı Safâ’nın, Pythagoras’tan öğrendikleriyle gezegenlerin dönerken nağmeler çıkardıklarını söylemelerini; Pythagoras’ı üstadları kabul etmeleri ve onun öğretisine tâbî olmaları dolayısıyla anlamak mümkün ancak İhvân, üstadlarının bu düşüncesine tâbî olmakla birlikte bu düşünceyi tefsir ve te’vîl ederek yeni açılımlar da getirmiş. Meselâ gezegenlerin (feleklerin) dönerken çıkardıkları nağmelerin Ud nağmeleri gibi olduğunu söylemek gibi. İhvân’ın Ud nağmelerine ve Ud’un tellerine yükledikleri anlamlarla birlikte gâye, Ud telleri ve nağmeleri ile gezegenlerin varlıkları, fizikî özellikleri ve hareketleri hakkında bir bağlantı kurmaktır., In the history of Islamic thought, the Ikhwan es-Safa is considered a very distinctive school due both to its origin, and its system. Founded in Basra, the full name of this school of thought was İhvân es-Safâ and Hullân el-Vefâ and Ehl el-Hamd and Ebnâ el-Mecd. The name Ikhwan es-Safa had been used by a group of independent philosophers (libres penseurs), who were tirelessly involved in science and philosophy, if not directly for their sake, but with the hope of building a kind of moral-spiritual community, where the heterogenic Islamic state elite can take refuge away from the wide-spread conflicts among religious groups, national societies and Muslim sects. The most important work of the Ikhwan es-Safa is the encyclopedia-like “Epistles (Risaleler)”. It is evident from the Epistles that the “Brothers of Purity and Loyal Friends” are brothers, each of whom are “pure souls, and they believe in and remain faithful to every sign”. Having emerged during the reign of the Buyids in Basra, Ikhwan es-Safa was a secret philosophical-religious society. Although the Ikhwan had claimed that they had been the 10th Century representatives of the Pythagorean school and that they had followed him in various sciences, it is possible to say that especially in the area of music, they established an idea of music, and a “musical way of thinking” by combining their own thoughts in music with the musical thinking and experiences that occurred and were developed starting from the B.C 6th Century of Pythagoras until their own era. This claim is based on the musical texts found in the Epistles (Risaleler) where we understand that they had taken especially the relationship of music and cosmos that Pythagoras started, so much further.In their fifth epistle of their encyclopedical work, the Epistles (Risaleler), the Ikhwan es-Safa likens the movement of planets and the sound they make as they move to the tune of Oud (Ud), and informs that the four strings of Oud (Ud) correspond to the four main elements of nature, that is earth, air, water, and fire. Claiming that the movements of planets are like the tunes of Oud, and the four strings of Oud correspond to the four main elements of nature, that is earth, air, water, and fire are conceptions that are even today quite novel and exciting. However, I would like to bring to mind that these ideas of the Ikhwan es-Safa are generally inspired from their master Pythagoras’ sense and idea of the cosmos. That being said, the fact that the Ikhwan established these thoughts and interpretations of a relationship between music and cosmos over Oud, demonstrates that this particular idea and its form of expression are indeed authentic. This is because Oud was the most respected instrument in their region and within the Islamic musical circles in general both during and after the Ikhwan’s era. Oud is in a way a common instrument of Islamic musical culture and civilization. There is no such information in the sense of building such “music-cosmos” relationship neither in Pythagoras’ own sentiments, nor in the Pythagoreans from this school, nor in others until the Ikhwan es-Safa.It is possible to understand the Ikhwan’s claim on planets making tunes as they rotate via their knowledge of Pythagoras, since they acknowledge Pythagoras as their master, and their submission to his teachings, however, while being submitted to their master’s thoughts, they branch out from this particular notion by their own interpretation and description. Likening the tunes of planets (earths) as they rotate to the tunes of Oud is an example to that. The Ikhwan’s purpose in attributing such meanings to the tunes of Oud and its strings is to create a connection between the strings and the tune of Oud, with the existence, physical characteristics, and movements of the planets.

Extended Abstract Folk songs, representing the rich genre of folk music, are a unique examples of art. They reflect a great history, the daily life, lifestyle, customs and traditions of the people, philosophical-psychological, social, domestic, religious and secular perceptions, joy and sorrow, heroic chronicles. Folk songs are as old as the history of the people. U. Hajibeyli emphasized the importance of collecting folk songs and of composing them to eternalize and of working with them in scientific researches. He has repeatedly used this genre in his works. The popularity of folk songs in composers’ work has led to the creation of new methods of use. It manifests their creativity. In the work of R. Mustafayev there are several styles of performance of folk song for choir. Among them, the accompaniment choir is of great importance. Eight pieces of choreography are written in piano accompaniment. Among them are “Yayliq” (accompaniment, 4 part chorus), “Ey, gozel” (accompaniment, 4 voice choral, soloist), “Sevgilim” (accompaniment, 4 part choir, soloist), “Ay gozel” (accompaniment, 4 voice choir) ), “Qara Gile” (accompaniment, 4 choir chorus), “Qara Teller” (accompaniment, 4 voice choral, soloist), “Aman Ovcu” (accompaniment, 4 voice choral, soloist), “Leylam” (accompaniment, 3 voice chorus), “Sevgilim” (accompanied by 4 voice choir) are choral works composed on the basis of folk songs. Apparently, these jobs are grouped according to certain criteria. Their accompaniment and choir, accompaniment choir and soloist are remarkable. Only one of these exercises is designed for 3 voice choirs, each with a 4-voice chorus party. The soloist party has also been involved in four chorus work, and chorus functioning is based on solo, chorus and piano partrs based on the the folk song “Qara Teller”. The piece starts from instrumental five cycles introduction. Its theme does not imply any fraud of the main melody, but is characteristic of the passage and arpeggio, which demonstrates the technical capabilities of the instrument. Arpeggio chords form the based on the instrumental accompany. The chorus party is homophone-harmonic and it acts as a support for the piano party. The composer was able to accompany an ensemble through the tempo of human voices. The chorus of the “Ay gozel” begins with the introduction of the eight-instrumental entry, which is based on the motives of the song, the first two digits are then expanded in the upper register, down through the sequences, with the passage up to the last two digits ending with the cadence motif. This melody is then played in the second sentence of the choir party, Soprano.During the performance of the second and the sentence, the main melody of the piano accompanied the song, while the third sentence is played by the entrance. It also brings a fullness and ensemble of work. In the work of R. Mustafayev’s accompaniment chorus, the piano party has a position of special importance in shaping the bright and image-emotional world. From this point of view, the “Ay gozel” can serve as a good example. “Qara Gile” “was recorded in 1981. One of the interesting aspects of this work, which has a large volume of instrumental access, is the formation of the chorus partition. Thus, the composer has given harmonic background elements from the beginning to the end in the party of other voices accompanying the main melody. This creates a mood of solo and ensemble accompaniment. The next example we draw on is based on the song “Sevgilim”. This work, written in 1999, is very popular in the khananda (solist) repertoire. The “Sevgilim” chorus is one of the most extensive instrumental examples. The introduction is based on the leitmotiv of the song with a 12-digit (cycles) volume. Another noteworthy aspect of the operation is the use of the principle of distribution of notes we have encountered in the previous examples. Thus, the first two lines of the main melody are played in the case of Unison in the Tenor and Bass party. In the continuation, the whole chorus is played. But here the melodic line of voices differs. Tenor and soprano sounds are given in the octave unison, with the lower Soprano parallel to the melody in the quartz unit. Although the press party is independent, its rhythmic shape is similar to the main ringtones. “Leylam” attracts attention with the interesting part of the chorus of folk song. At the entrance to the 10-piano piano, the composer presents original music tracks using the motives of the song. His character sounds with the general mood of the song. In particular, repeating the 16ths on the “d” sound in the last two digits slightly strengthens the hilarious character. There is an interesting structure in the chorus. The melody was traditionally assigned to Soprano’s voice. As a result, the composer’s interest in the folk song can be easily seen in his works. In the accompaniment of R. Mustafayev’s chorus, first of all the vocal voice capabilities match the basic style of folk song performances. The composer, who is well aware of the details of choral music, not only unveils the singers’ vocal talents, but also pays special attention to the song’s emotional content. It is necessary to mention the role of the piano in the chorus’ performance. The composer used this instrument not only as a companion, but also with skillfulness. Keywordscomposer, choir, instrumental accompaniment, work, folk song, style