The examination of poems theme of tunity in alevi Bektaşi culture "The example of Hüseyin Emektar"

The biggest source of the Alevi Bektashi tradition is the oral music they use in their religious rites and rituals. Rather than transferring their knowledge, religious rituals and belief styles to the next generation in the form of a written text and source due to the difficulties experienced in the historical process; Alevi Bektashi society has been able to transfer their entity up to the present by developing a method of cultural transfer, which is called "oral culture", from father to son, from master to apprentice, and from generation to generation. The basis of Alevi Bektashi music is the "breaths" that center on Islamic belief and Turkish mysticism. Nefes is not only a specific type of Alevi Bektashi music, but also a top title that covers all types of this music. In our thesis, by adding the fourth, Pir Hacı Bektaş-ı Veli, next to Allah, Muhammad, Ali and this trilogy, we compiled 4 breaths which are on the verge of disappearing and are uniting these issues on the path of "Truth" and making them "monotheism"; and we examined them in terms of both music and philosophical. In our thesis, while we are examining Alevi Bektashi music and the breaths that are the basis of this music; In the known Turkish history, we pursued it to Central Asia until pre-Islamic. We followed the traces of Turkish music, which was shaped before and after Islam, and the Alevi Bektashi music connected with it. We tried to contribute a little bit to Turkish religious music by examining the heritage of Alevi Bektashi music in the historical process starting from Atayurt Turkestan to the covering the periods of the Huns, Gokturks, Uyghurs, Karakhanids, Ghaznavids, Seljuks, Ottomans and the Republic of Turkey.