Abstract

Folk instruments, which play an important role in the production and transfer of music, are cultural products that sometimes give voice to non-expressible feelings, save time for remembering the lyrics, increase the joy by adding to the sound, and sometimes maintain the rituals and serves as a means of communication. The materials they are made from, their shape and sound, they bear the traces of society and they are also the most important indicator of character of music. As ancient as humanity in terms of existence, they are the proof of cultural values of humanity with their rich variety. Besides the variety of our traditional folk instruments that take on the primary task in continuation of musical tradition, they have representatives too. Such representatives sometimes take the name of the traditional art which they produce and sometimes they are called by the name of the folk instrument they play; they show themselves by various names and qualities such as minstrel, bard, tambourine (tef/def) player, tabor (deblek/delbek) player, reed (sipsili) player, uyguncak player


The representatives, who contribute to the creation and maintenance of traditional music in company with the traditional folk instruments, represent their instruments by remaining loyal to their cultural identities as well as their social roles. The places where they produce music with such traditional instruments ranges depending on mentioned indicative elements in indoor-outdoor verbal cultural environments such as village wedding, henna night, farewell ceremonies for soldiers, city/town festivals, culture houses, places of worship, high pastures, nomad camping sites, etc. In this point, when we look at the adventure of our traditional folk instruments, we see that women take over the role of representative and even though they create special expression styles in terms of music and lyrics during this adventure, they do not have a room for themselves under such roof.


In this context, considering the fact that although female representatives of traditional folk instruments have moved to big cities or their local characteristics have somehow changed even though they continue living in their hometowns, they are a part of this tradition with their current characteristics and productions styles; we want to keep such musical soul alive, which has existed in all periods and will continue to exist, to make artistic identities of female representatives visible and to accompany to their existence stories. Date obtained via field records have been analyzed within the contexts of expression styles of female representatives of traditional folk music in the 21st century, their playing techniques, creation process of their musical products, transfer methods, the function of music in the lives of such female representatives and reflection of their female identities into music.