Özet:

The studies of musical/cultural identity includes two different basic subjects as woman and man in the context of gender. According to the perception that is generally accepted , while these two different subjects are considered in hierarchical order, the men are appraised as the former or the anterior; the women, on the other hand, are appraised as the secondary or the posterior. The feminist approaches that have basically been developed as a reaction to this perceptional hierarchical order aim to change this sense which is in the favor of the men by getting the women to be taken up in the same level with the former. Women gender in the Crimean Tatar social life has not been abstracted from the society, restricted through hard norms or confined in any field. Especially, in terms of maintaining the musical tradition The Crimean Tatar women have taken part in a variety of musical performances from playing instruments to vocal forms and dances. The fact that the young women are called as Apakays and the old ones are called as Kartanays, accordingly with their age categories in the language of The Crimean Tatar and these Tatar women have active roles in carrying and transferring their cultural identity by means of music constitutes the main topic of this article. The inadequate number of the written literature related to this topic has forced the article to the data that will be able to be obtained from the area and has limited it with them. Therefore, this article has been formed in the light of the observations, interviews and music compilations in relation to the studies of this area performed in Turkey (Eskişehir, Çatalca and Ankara/ Polatlı) and in the Crimea Region of the Ukraine.

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