Notation and analysis of Âşık Dâimî's works

Considering the ballads and folk poems sang within the Minstrelsy Tradition, musical works sang to one person are performed by one person in general. According to this, every minstrel has a unique playing and singing style. Minstrels usually perform their songs with saz/baglama which is part of our culture. Saz is a kind of inspiration for minstrels. Âşık Dâimî, who has great importance with his saz and lyrics within minstrelsy tradition, is also one of the most important representatives. When we look at the notation of Dâimî's works in the TRT-THM (Turkish Radio and Television Cooperation – Turkish Folk Music) repertoire, we see that they were notated in a standardized structure that does not reflect an authentic modus. The written tunes do not reflect the saz and lyric performance of Âşık Dâimî in detail. In the literature review, there are several studies that we can show as a source written about Âşık Dâimî. These studies are mostly about the analysis of his poems and works in a literary sense. Notating the way Âşık Dâimî performs his works and making a performance analysis musically are crucial for the original value of this study. In this study, the sound recordings of 10 works of Âşık Dâimî, which have been in the TRT-THM repertoire, were examined so their notation and performance analyses were performed. The studies were analyzed in terms of performance by writing both saz and lyrics notation on two separate staves. Sounds that express the attitude and style of playing and singing of Âşık Dâimî have been identified, and information about his performance has been tried to be presented. This study is aimed to be an academic source for Turkish folk music literature.