Özet:

Minstrels play a fundamental role in representing and preserving the oral tradition and music culture in geographies where Turkish culture is dominant. Setting the tone of socio-cultural structure, minstrels have ensured that the artistic expression and perception of the societies have remained within the framework of traditions and customs. Âşık Reyhanî is a minstrel who managed to be an intergenerational bridge between his predecessor and the next generation in terms of passing down the minstrel literature and music through the apprentices he trained, his mentor’s works he brought to society, and the works he produced. This study aims to reveal Âşık Reyhanî's mastery of minstrel music with both his theoretical knowledge and rich melody repertoire, as well as vocal and instrumental performance techniques, in the light of information and documents. With this approach; a literature review was made on poet, minstrel, minstrel tradition, the place of the minstrel tradition in Turkish folk music, minstrel music in Erzurum province, and the art life of Âşık Reyhani so as to create the theoretical part of the research. In order to obtain the musical findings belonging to Âşık Reyhanî, the documentary review method was used to collect the data, and Âşık Reyhanî's record-cassette albums, video recordings, television programs he attended, documentaries with the theme of Âşık Reyhanî, and various written sources were utilized. In line with the findings obtained, Âşık Reyhanî was knowledgeable about various performance techniques, chords, and frets concerning the performance of the baglama instrument. Although he mostly used the divan instrument, it is seen that he also preferred the instrument tambura in his performances. In his albums, Âşık Reyhanî performed unmetered folk songs that resemble Turkish unmetered folk music types such as Maya and Divan, besides Turkish folk songs in various melody forms such as Sümmani and Köroğlu, When the tone of the works performed by Âşık Reyhanî is examined, it is seen that he generally sang with the sounds fa# (F#3), fa (F3), and sol (G3). The works he performed usually do not exceed one octave and are in the range of 4-5 and 7 voices. Besides the Uşşak and Hüseyni that are frequently used in the region, he performed works with the Hejaz, Muhayyer, Saba, and Karcığar scales. Âşık Reyhanî performed Turkish folk songs mostly in the 4/4 and 2/4 simple, and the 5/8 compound tempo.

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