A Musical Analysis of the Works of Âşık Sadık Doğanay

Abstract

Within the richness of Turkish folk music and the music in Anatolia, the productions of minstrels, bards, folk song singers and source persons have a very important place in the development of our music culture and richness. Each lover develops and produces within the framework of his personal skills and abilities, the musical characteristics of the region he is in, and also the musical characteristics of the circles he interacts with. Examining and compiling these characteristics contributes to revealing the musical characteristics of that lover, the region and the area. Aşık Sadık Doğanay is also an important resource known both in the region where he is located and in the Anatolian geography with his personal characteristics, skills and talents and what he produces. The fact that he is born blind and that he sees the world with his heart's eye and puts his productions forward with what comes from his heart is another feature of him. His performance in the word, in the reed and with the combination of the two ( playing the reed and singing folk songs) is another important feature of him that can be noticed immediately.

In the study, previous studies on the minstrel were examined and the findings and information obtained were tried to be explained from a perspective that had not been looked at before. Makam and musical characteristics of Turkish music, which were not mentioned in previous studies, were identified in Aşık's works and explained with musical expressions such as “makam feature, procedural structure, decision pitch and sound width.