Özet:

The cem minstrel/Alevi minstrel tradition, which constitutes a significant place within Turkish religious music, is under the threat of losing its place and importance in response to many elements, such as migration, urbanization, technologicalization, popular culture, etc. This study is research that has an ethnographic character for conducting an analysis of the literary and melodic construction of the works by Âşık (Minstrel) Seyyid Süleyman, who was an important figure in Turkish religious music, historical research for carefully examining the historical records of his life and period, and for setting forth the codes of the Alevi-Bektaşi (Bektashi) music culture. This research carefully examined the life, works, and melodies for thematic and literary structures in the axis of contributions to Turkish religious music by the innovator Cem minstrel/ Alevi minstrel Âşık Seyyid Süleyman, who represented the accumulation of experiences in the fields where he was active in the Alevi ocakları (organizations), such as Shah Kalender Veli Ocağı, Hacı Turabi Veli Ocağı, Cibali Sultan Ocağı, Hacı Muradi Veli Ocağı, and Mehemmed Abdal Ocağı centered in Çubuk/Şabanözü. In the research, it was targeted to carefully examine the multidisciplinary and multifaceted contributions by Âşık Seyyid Süleyman, the innovator of the region where he was dominant in the Alevi Ocaks centered in Çubuk/Şabanözü of the cem minstrelsy/Alevi minstrelsy tradition, which constitutes an important place within Turkish religious music. The cem minstrelsy/Alevi minstrelsy tradition has received its share in losing its place and importance in response to the transforming and changing conditions in the context of the oral, written, and electronic environments in the present-day. It is mandatory to carefully examine in this context Âşık Seyyid Süleyman, who represents and transfers to the present-day the accumulation of experiences of the sociocultural environment of which he was a member on keeping alive and transferring a thought tradition, which developed for over one thousand years. Starting from this point of view, the problem of the research is what were and how were the contributions of Âşık Seyyid Süleyman from a multidisciplinary and multifaceted aspect in the context of the field where he was active in the Turkish religious music and the Alevi ocaks centered in Çubuk/Şabanözü? The research aimed to utilize the situation study method for conducting interviews with source persons determined in the region for depicting the elements, which kept alive the contributions of Âşık Seyyid Süleyman to Turkish religious music and to solve the musico-folkloric structure related to the use of multi-qualitative research techniques. Many written sources were carefully examined in the fields of Turkish folklore, Turkish folk literature, Turkish folk music, and Turkish religious music for collecting the data in the research. The regional and music-context criteria unique to the field that were active in the five ocaks were considered in the determination and selection of these sources. The traditional cem minstrelsy/Alevi minstrelsy repertoire formed from the works by Âşık Seyyid Süleyman, which were set forth belonging to the field, when taken as the basis within the framework of the contributions to Turkish religious music, the results of the careful examination of the literary and melodic structures were in the following direction: words were in the forefront of the belief action in the works by Âşık Seyyid Süleyman, who transferred the heritage belonging to the fields of belief and culture to poetry and melodies and music was included as an assistant means. Âşık Seyyid Süleyman used a simple and understandable language with the syllabic meter pattern of 11 and thematically, his poetry had a rather rich character. In a careful examination of the melodic structure, the number of duvaz-ı imamları (breaths praising the twelve imams) are rather more in numbers compared to the others for the forms in musical narration. It is observed that the Karcığar mode is dominant in his works and while together with taking the Çargah mode pitch as the axis in some of these melodies, some take the Neva mode pitch. Leaps are observed between the Rest and Çargah modes. Besides the melodies that start and finish in the Uşşak and Hüseyni modes, there are also melodies included that start in the Hüseyni mode and pass to a Karcığar mode. The fact that Âşık Seyyid Süleyman was productive from the aspect of duvaz-ı imams in the field provided the greatest contribution. The unique constructed cem minstrelsy/Alevi minstrelsy oral cultural environment and the cem minstrelsy/ Alevi minstrelsy tradition in the city can be carefully examined by taking the research model example for folk science and musicology in the context of the unique religious musical applications of the other ocaks included within Anatolian Alevism.