Examination of music elements in Eskişehir province Alevi Bektashi tradition

The aim of this research is to analyze the musical elements in the Alevi-Bektashi music tradition in Eskişehir province in terms of their regional characteristics. In this context; certain settlements where Eskişehir Alevi-Bektashi music culture was shaped were selected and the musical elements in these regions were examined and the similarities and differences of these elements were determined. Musical elements in the Anatolian Alevi-Bektashi tradition; music genres, methods and scales were determined. The data of this study, which was designed with a descriptive and "survey" model from qualitative research methods, were collected through source (document) scanning, visual and auditory material analysis and semi-structured interviews. The data obtained were analyzed using descriptive content analysis. Semi-structured interview questions were prepared according to the regional music genres in certain centers where Anatolian Alevi-Bektashi music is performed and shaped according to the participants. The data obtained from the research were analyzed using content analysis method, one of the qualitative research methods. The 102 works obtained from field research and local written and printed sources were notated and analyzed. When the individual voice widths of the works used in the analysis phase were examined, it was seen that there was a wide range of works ranging from the 4-part range to the 11-part range, in addition to this, the works were generally performed in the 8-part range. It was observed that most of the collected works developed in the middle region surrounding the strong regions under the influence of the maqam framework and structural type in which the works are located, and according to the makam distribution, the most used maqam structure was Hüseynî, followed by Uşşak and Hicaz. Under the heading of rhythmic structure, it was determined that the rhythmic structure with the highest usage rate was 7/8, followed by 4/4, 9/16, 2/4, 4/8, 5/8, 9/8 rhythmic structures. When the type of intervals and pitches in the pieces were analyzed, it was determined that the melodic movement developed predominantly in the region of the decisive pitch, and in the performance and vocal parts, mostly adjacent voices were preferred. In general, it has been determined that the works show a middle region course. It is concluded that the majority of the works are in Semah genre, followed by Nefes and Deyiş genres.