In Fatih Koca's article "Senin de Bir Adın Tâhâ" is the last line of the list, and footnote 31 falls exactly after its name. The footnote says that the hymns whose scores they publish were revised and transcribed by the ney player Eren Köksal; yet the score of this hymn is not among the article's appendices. What can be read of the piece today is only its name, its mode and the person from whom it was collected.

Catalogue Data

  • Repertoire no.: none; it is not on the Amasya list of the TRT repertoire
  • Genre: ilahi, a religious hymn
  • Region: Amasya (city centre)
  • Source person: Hacı Asiye Akbaş; Ayşe Candaş also joined in the singing during the collection
  • Collected by: Fatih Koca (together with Osman Akbaş on the other published scores)
  • Transcribed by: Eren Köksal, according to the footnote; the score has not been published
  • Date of collection: not in the article; the interview took place at the Ramadan Bayram of 2013
  • Makam (mode): Uşşak
  • Metre: unknown
  • Words and music: counted as anonymous
  • Source publication: Koca 2015, p. 937 (list, no. 11)
  • Link: no TRT link; Koca's article

Lyrics

The words could not be found in any published source. The scores in the article's appendix run from page 939 to page 951 and follow the order of the list; the score of "Besmele", the other piece in the Uşşak mode, was printed, while that of "Senin de Bir Adın Tâhâ" was not. The name that remains is a form of address: "one of your names, too, is Tâhâ". Tâhâ is the name of the twentieth sura of the Qur'an; the sura takes this name from its first verse, which consists of two letters. Whom the hymn addresses the name alone does not say, and since the lines are unknown the question stays open.

Its Story

There is no account explaining what place the name Tâhâ holds in the hymn. Koca relates only that Akbaş kept her hymns in memory without committing them to writing.

Musical Features

The description "Uşşâk İlâhî" in the list is the only information we have about the mode. The metre, the tempo and the structure of the melody are unknown, since the score could not be seen.

Performers and Recordings

According to Koca, the collection was made from Akbaş's own voice with the participation of her sister Ayşe Candaş; where the sound recording is kept has not been written down. No other singer or album recording of the hymn is known. The folk melodies of Amasya beyond its hymns are the subject of The Melody of Yeşilırmak.

Bibliography

Online sources