Aşık

This article covers the storyteller and folk song singer; for the Turkish personal name see Aşık (name) .

Aşık ( Turkish , plural aşıklar ; Azerbaijani aşıq , plural aşıqlari ), also Aschik and Aschug (after Arabic عاشق aschiq , DMG ʿāšiq  'lover'), hasbeen the name for a storyteller and folk song singer who accompanies himself on a long-necked lute ( saz ) in Turkey , Azerbaijan and the Iranian region of Azerbaijan since around the 16th century. The epic tradition goes up in front of Islamic time back as in the Turkic peoples in Central Asia ozan (Turkish, "Poet") called minstrels their songs to the lute komuz (kopuz) recited. The texts of folk poetry are similar throughout the area and consist of a meter counting syllables (hece vezni) with eight- or eleven-syllable stanzas. The melodies of the traditional singers mostly belong to a free rhythmic genre, which in Turkey is called uzun hava . Aşıklar also sing love songs or comment on current social problems. Female aşıklar are rare. Since the state funding of popular Turkish music from the 1930s onwards, the songs of the aşıklar have been highlighted as the typical Turkish national poetry and are now predominantly tied in metrics (kırık hava) or presented in a mixed form. The musical range of the songs goes beyond what is simply assumed to be “Turkish folk music”.

Origin and Distribution

The word ozan goes back to the old Turkish verb oz , which Mahmud al-Kāschgharī mentioned in his work Diwān lughāt at-turk at the end of the 11th century . Around this time, singers who took part in the campaigns of the Seljuk army were also called ozan . With them the song tradition spread to the west. The tradition of epic singers, which exists from Siberia and Central Asia to Anatolia, is based throughout the area on basically similar romantic and heroic poems by mythical heroes. The lines between heroic epics and romantic narratives occasionally blur. The shamanistic origin of these singing traditions caused the singers to have a special position in society; they were often ascribed magical abilities. Ozan is sometimes used synonymously with aşık . As a word component, ozan occurs in ozanlama ("proverbs"), ozannama ("improvised song") or ozancı ("talkative person").

Until the 15th century the ozan - later the aşık - had the role of a professional traveling singer and mediator of tradition. A similar function in the Kurdish music culture today takes the dengbêj ( Kurdish deng , "voice" Bey "tell") one, with the difference that the dengbêj his stories in a special style of singing without instrumental accompaniment recites. His Kazakh colleague is called jyrau (zhirau) and accompanies himself on the two-string bowed bowl-neck lute kobys , while the Kyrgyz and Turkmen baxşi plays the plucked long-necked lute dombra (dutar) . Baxşi or šāʿir is also called in Uzbekistan. After the same word origin as aşık , the aschugi (also sasandari ) in eastern Georgia and Russia called themselves since the 17th century . They were the successors of the medieval, the ozan comparable Georgian Barden mgosani that among Armenians to about the 16th century gusan were called. The last significant aschugi in Georgia was Etim Gurji ("Etim the Georgians", 1865–1940). The Georgian epic singers, who were accompanied by the long-necked lute tari , the short oboe duduki and the little pair of kettle drums diplipito , performed in Tbilisi until the 1940s . Some of her compositions are still part of the folk and art music repertoire today. The Armenian gusan was first mentioned in a source from the 5th century. He could be a storyteller, musician, singer, dancer, and actor, and often offered his arts at weddings and funerals. In the 17th / 18th In the 19th century, he took a back seat to the aschug , who sang Armenian versions of Persian-Turkish poetry.

In northern Afghanistan , the aşık was nicknamed madschnūn ("crazy") and mast ("drunk"), which were commonly used to refer to professional musicians. In this wider meaning, aşık is also understood in the eastern Iranian region of Khorasan .

In Arabic, the narrator and singer, who was endowed with magical powers, was called šāʿir (schair) since pre-Islamic times ; his importance as guardian of the tribe corresponded to that of the oracle priest kāhin . The oldest description of the šāʿir is from the church historian Sozomenos around 450 AD . In the Middle Ages and up to the beginning of the 20th century, the šāʿir was important as a court musician and mouthpiece for the ruler. In Egypt and among the Arab Bedouins , the improvising epic and folk song singer šāʿir accompanies himself to this day with the single-stringed spit violin rabāba , in Sudan with the bowl lyre kisir .

Kyrgyz storyteller manastschi

In Kyrgyzstan, the folk singer manastschi is the only epic singer to perform the old epic epic Manas without instrumental accompaniment. The Uzbek national epic bears the name of its hero Alpamysch , in the Altai Mountains it is called Qaycı , in Kazakhstan Zıraw. The epic of the Buryats and other peoples in Eastern Tibet is called Gesar ( Gasar ), that of the Kalmyks Shangir. The mythical hero Gesar uses cunning to free his wife from captivity with the evil king of Hor. Before that, he transforms himself into an epic singer who is at the same time a fortune teller, juggler and dancer, and later into a blacksmith's assistant. The blacksmith is generally considered to have exceptional skills. The relationship with the shaman becomes clear because Gesar has the magical three-legged horse, the Hor. It is reminiscent of the horse head violin morin khuur , the instrument of the Mongolian singer, with which the shaman begins his journey to heaven.

One of the earliest written epics is the Oğuz-nāma of the Oghuz , which appears for the first time in the Orkhon inscriptions . It goes back to pre-Islamic legends as the Oghuz, a former Turkish tribal confederation, after the collapse of Göktürkenreichs from the 8th to the 9th century in the basin of the Syr Darya settled in what is now Kazakhstan. From here the Oghuz moved further west. Some of them founded the Seljuk Empire in Iran in the 11th century and the Sultanate of the Rum Seljuks in Anatolia . Ozan singers orally transmitted the stories of the eponymous hero Oğuz. The oldest written version is from the Persian historian Raschīd ad-Dīn (1248-1318) in his complete work Jami 'at-tawarich ("Universal History"). The mythical origin is traced back to Adam . It contains the cosmogonic myths about the hero Oğuz and the historical development up to the conquests of the Seljuks. The pre-Islamic stories about the Oğuz who came from heaven were supplemented by verses from the Koran and the Shāhnāme .

In Central Asia, many other Oğuz-nāmas emerged between the 15th and 19th centuries , in which the hero occasionally converts his people to Islam. They belong to the widespread epic or lyrical storytelling tradition known as dastan (destān, zhir) . Some popular short stories (Turkish hikâye ) from this pool are known as Aşık Garip . Another cycle of Turkish verses deals with the fatherly figure of Dede Korkut , whose model is the Oğuz. The heroic sagas were probably written down in the Caucasus in the 15th century . They are about the struggles of the Oghuz against evil Christians. As in Oğuz-nāma , the migration of the Oghuz from Central Asia to the west is described. Azerbaijanis and Turks appreciate the stories as part of their national culture and as a source of knowledge of their origins. At the end of the described adventures of the noble societies, the hero Dede Korkut appears every time and provides amusement with his singing, playing kopuz . The character in the stories is both singer and shaman, who embodies the typical characteristics of an ozan . He knows the past, can prophesy for the future, acts as a healer and advisor in all situations and is present at weddings. There are stories of how, with the help of otherworldly powers in the forest, he first built the lute kopuz from a piece of wood , which came to West Asia together with the nomadic way of life and is regarded as the forerunner of the saz . The connection between two worlds is a typical shamanic element, at the same time the hero represents a connection to pre-Islamic ideas of the afterlife for today's Muslim storytellers.

For female aşıqlari in Azerbaijan, Dede Korkut is in high regard today because the stories about him are about an old nomadic world in which women had a high social status. The formerly influential male jyrau in Kazakhstan, who accompanied each other on the string kobys , did not survive the political pressure during Soviet rule ; Koby- playing women, on the other hand, continue to practice as shamans. In Central Asia women are particularly close to the shamanic tradition; As epic singers comparable to the aşık , they are active in Kyrgyzstan, Uzbekistan, Tajikistan and the Siberian Yakutia as well as in Kazakhstan .

The transition from ozan , who was mostly caught up in the shamanic world of ideas, to aşık , who felt himself to belong to Islam, took place largely under the influence of Sufi currents. For a while both of them were traveling professional singers. From the end of the 15th or beginning of the 16th century, the Azerbaijani and Anatolian singers and saz players were called aşık . Islamization becomes clear in the various new narrative forms. After the heroic struggle and the adventures of Oğuz and Dede Korkut, the more romantic and lyrical style of Qurbanı dastan developed , which is about love and longing for one's beloved as well as questions about the religious knowledge of Islam. The mystical poetry of poets such as Ahmed Yesevi (around 1100–1166) and Yunus Emre (around 1240 - around 1321) may have had an influence on the development of the new style. The oriental love story Majnūn Lailā, which is widespread in different versions, is also part of the repertoire of Azerbaijani bards. The tragic love story of Kerem and Asli (Azerbaijani Asli vä Karam , Turkish Kerem ile Aslı ) from the 16th century is famous throughout the Caucasus region . Aşıq Qərib is a romantic fairy tale about an epic singer that was first written in 1837.

The founder of the Iranian Safavid dynasty, Shah Ismail I (1487–1524) is said to have always been surrounded by singers at his court. The ruler himself wrote mystical poems in Azerbaijani in the usual meter of eight or eleven syllables per stanza. Most of his poems, according to Shiite tradition, are homage to Imam Ali .

In the Ottoman cities, especially in Istanbul , there were coffee houses from the 16th century where people smoked more than coffee and where aşık occurred. They often performed verses and songs in duets. In the aşık coffee houses only stringed instruments were played for accompaniment. Other coffee houses were called Semai , after a form of song derived from the religious music of the Sufis ( Mevlana ). In addition to string instruments, the semai singers also played other melodic instruments as well as drums and zilli maşa for the rhythmic accompaniment .

Musical form

The term "Aşık music" (aşık havası) stands for a different repertoire of melodic, reciting folk songs, in which poetry is primarily important and whose melodies previously mostly belonged to the free rhythmic uzun hava forms. According to the content, they can be assigned to certain genres such as love songs (bozlak) , wedding songs (dügün turquoise) or elegies (lamentations for the dead , ağıt ). The metrically tied dance songs kırık hava (“broken melody”) or a creative mixture of both forms have a larger share of the aşık pieces today . The names of the poets are mostly known, as their name usually appears in the last stanza. In contrast, most of the other Turkish folk songs ( Türkü ) are anonymous. Türkü , more precisely halk Türküsü (“people's song”) means either general Turkish folk songs in contrast to the classic Ottoman art song ( şarkı , “oriental”) or a certain form of poetry.

In contrast to the song texts, which have not only been handed down orally but also in writing for centuries, there are hardly any notated melodies for folk music from the past. From the mid-17th century, the oldest dating notation of aşık- songs. It is in the collection of the Polish composer Ali Ufkî (born as Albert Wojciech Bobowski, around 1610–1675), Mecmuâ i Sâz ü Söz (“Collection of Music and Dance”), in the form of core melodies that are embellished by the musician had to. The core melodies ( makam , pl. Makamlar , not identical to the makam of the same name , the mode of Arabic-Turkish art music) consist of certain, constantly repeating tone sequences. Mecmuâ i Sâz ü Söz was also the only known notation of Turkish folk music until the 20th century. Wojciech Bobowski was brought to the Sultan's court as a slave in his youth. There he called himself Ali Ufkî and worked as a music teacher and composer in the classical Ottoman style. He wrote mainly art music and also some aşık songs in melody and text. After his summary, the songs were about war, victories, love affairs and the distance from the fatherland.

The common notion that the folk song melodies come from ancient times and have been handed down practically unadulterated is based on the assumption that the aşıklar, as prudent keepers of tradition, have a fund of well-worked compositions. In contrast, Ufkî's notes show that every singer has certain melodic core elements at his disposal, which he puts together like musical building blocks. In Turkish and Persian folk music, such basic melodies are called makam ; the term does not correspond to the mode ( makam ) of oriental art music. The ethnomusicologist Josef Kuckertz used the term componere (Latin, "to put together") for this creative process during the performance, which moves between improvisation and faithful reproduction . To this day, aşıklar work according to this concept. For Turkish music and especially for the aşık melodies, a slow melody movement in steps of one second is characteristic, larger leaps in intervals are weakened beforehand by ornamental phrases.

Traditional job description

Pir Sultan Abdal , 16th century Alevi poet. Unknown painter.

The role of the professional singer changed from a healer and shaman in Islamic society to that of a learned authority comparable to a Sufi sheikh. To this day, the aşıklar are regarded as the bearers of cultural memory and have, if not religious, at least moral weight. In addition to the singers of the traditional epics (dastan), there are others who mainly perform easy lyrical pieces. The Arabic word aşık means “lover” mostly in a mystical sense and refers to songs of religious veneration for Allah and Ali.

The traditional aşık moves around as a professional musician, mostly recites his own poems and accompanies himself on the medium-sized lute bağlama . Some play the larger sounds meydan sazı or divan sazı . Especially in the underdeveloped eastern Turkey, the wandering singer addition there are set up in the first half of the 20th century, before the advent of public broadcasting is an important source of information for news from other areas are. Semi-professional singers that occur only occasionally and their lyrics literally from full-time aşık take . There is no formal training for professional singers; “aşık” is someone who is addressed in this way by the audience or who can describe himself as such without contradiction. The word "Aşık" then usually becomes part of the name.

Aşık Alasgar (1821–1926) from Azerbaijan

Some singers perform secular love songs, others epic poems or religious songs (ilāhī) . The singers of the religious songs do not belong to the Sunni majority, but to the Sufi order of the Bektashi or, most often, to the Alevis . The aforementioned mystical poet-singer Yunus Emre (around 1240 - around 1321) is venerated by Bektaschi and Alevis. Pir Sultan Abdal (1480–1550) is considered an Alevi freedom fighter against Ottoman rule. A large part of the Central Anatolian aşıklar are Alevis, many of them are also priests ( dede ) and lead the cult activities. With the Alevi dede , the old tradition of singers and religious leaders in one person has been preserved. Traditionally, Alevi singer in the Islamic month meet Muharram in Iraq's Karbala to commemorate the death of Imam Husain . There the musicians hold singing competitions in which they sing to each other with improvised lyrics. In Turkish this exercise, which was previously practiced on the Black Sea with secular songs, is called atma turküsü ("throwing songs").

Well-known representatives of the tradition are the mythical aşık and folk hero Köroğlu ; Aşık Gurbani (16th century); Aşık Abbas Tufarganlu (17th century) from the Azerbaijani town of Tufargan; Karacaoğlan (around 1606 - around 1680) from the southern Turkish province of Mersin ; Aşık Ömer (around 1651 - around 1707); Kul Himmet Ustadım near Divriği in the 18th century ; the Armenian Sajat Nova (1712–1795); the folk poet Dadaloğlu (around 1785 - around 1868), who descended from nomadic Afshar ; Dertli (1772–1846) born in Bolu ; the Azerbaijani Aşık Alasgar (Elesker, 1821–1926); his son Aşık Talibi (Asyg Talyb, 1877–1979) and Aşık Şenlik (1850–1913) from Çıldır in the far northeast of Turkey.

Sayat Nova plays saz , accompanied by the spit fiddle kamança . Drawing from 1923

The popular Azerbaijani singers are particularly active in the south of the country, in the north and in the Nagorno-Karabakh mountain range in the west, classical mugham singing is more widespread. The two main musical styles in Azerbaijan also differ according to the social environment. The aşyg mostly belongs to the rural provincial culture, the mugham singers more to the urban educated middle class. Both singers perform equally at weddings (toj) , their musical forms have a lot in common: the range of the initial mode is limited to a pentachord , the melody types (generally aşyg havasi ) are easily recognizable by their simple tone sequences and the rhythm consists of a 4 / 4, 4/6 or 4/8 time. The modes used in folk music are mostly taken from the Mugham. The singing techniques, especially the grinding of the voice, and the line-up of the ensembles, which consist of three to four musicians, are just as typical of both styles. There are classical compositions that have their origins in aşyg singing; conversely, sections with mugham can be inserted when performing simple folk songs (täsnif) . Azerbaijani folk singers, like mugham singers, perform the dance melodies reng and diringi , which are similarly known in Iranian music .

The most popular form of poetry is called gosma (qoşma) and consists of four lines of verse with eleven syllables each. Variants are bajati (bayatı) and muchämmäs . In addition to special folk song genres , the oriental gazal is also sung. A singer's repertoire includes around 30 melodies (hava) with which he recites the various poems. A total of about 100 (150) to the classic are dastan counted compositions known. The aşyg usually only accompanies each other on the saz . At weddings and other outdoor celebrations, it can be strengthened by the bowling oboe zurna and / or the short oboe balaban (similar to the Turkish mey ) as well as the small double-headed tubular drum nağara (Turkish koltuk davulu ).

In Azerbaijan, the aşıqlari's repertoire includes almost 2,000 poems in various forms in addition to the compositions. In 2009, the traditional art of Azerbaijani aşıqlari was added to the UNESCO list of masterpieces of the oral and intangible heritage of humanity .

Up until the Islamic Revolution in 1979, aşıqlari performed regularly solo in the city's coffee houses in the Iranian province of Azerbaijan . In Tabriz they made music together with two musicians who played balaban and gaval (equivalent to the frame drum daf ).

Most aşık are men, only occasionally women are recognized as aşık . One exception is Fatma Oflaz (1894–1980), who lived under the name “Derdiment” in the Central Anatolian district of Kangal . She was illiterate and recited her poetry from memory. In Azerbaijan, professional female singers who accompany each other on a long-necked lute have been known since the 18th century. Aşık Zernigar from Derbent in the 18th century and Aşık Zulehxa in the 19th century have been handed down because of their extraordinary talents. Most women in the 19th century played music at weddings and other family celebrations with their husbands, who were also aşık . Aşık Besti (around 1840-1936) belonged to a group of musicians called Qurbani around Aşık Alasgar who performed regularly together. In contrast to other Islamic countries, the female aşık in Azerbaijan do not practice special women's music in a separate area until today, but rather play in the same musical tradition as the men in front of a mixed audience.

Today's game practice

The opera singer Ruhi Su (1912–1985) influenced the emergence of urban Turkish folk music

In the Ottoman Empire , classical court music (klasik Türk müziği) of the educated elite was closely linked to Arabic and Persian music . The technical terms for music were Arabic or Persian. The Anatolian folk music, sung in simple Turkish, was disregarded by the upper Ottoman social classes as peasant and primitive. With the nationalist movement at the end of the 19th century, on the other hand, the desire arose to create a separate Turkish music culture based on Anatolian folk music instead of Ottoman music, which was now viewed as foreign. This went hand in hand with efforts - parallel to the invented myth of origin of the unified Turkish people - to classify folk music as a genre that belongs together and has exclusively Central Asian roots.

From 1915 musicians from Istanbul began to collect the previously neglected folk songs of Anatolia. After the establishment of the Turkish Republic by Ataturk in 1923 , the ethnomusic research of folk music and the search for its Central Asian origins intensified . In folk music, pentatonic tone scales had to be tracked down because these belong to the general archetypes of melody formation. In this context, the Hungarian composer and folk song researcher Béla Bartók, together with several Turkish composers, took part in the search for the “original” Turkish music in 1936. A year later a state folk music archive was set up in Ankara , where the focus of folk music research shifted from Istanbul. The collecting of folk music in the villages developed in the following decades into a respected and institutionally supported activity of Turkish musicians.

The Central and Eastern Anatolian aşıklar became the center of attention because their simple melodies and time-honored verses were now classified as a national Turkish cultural asset that had to be preserved as "authentically" (otantic) as possible . In 1939, a national radio station went into operation in Ankara, which for the first time helped the aşıklar and other folk musicians to spread their songs almost nationwide. Up until then, the musical accompaniment of the singers was of secondary importance and was technically simple; the focus was primarily on their poems.

The new social environment brought several changes for folk music: the aşıklar have been increasing their instrumental skills through competition since the 1960s and the previously regional and in every situation different ways of performing have become more similar. With the long-necked lute bağlama , the size and number of frets used to be different in each region, now both as well as the tuning of the strings are standardized. The moods kara düzen (also bozuk düzen , La –Re – Sol) and bağlama düzeni (also aşık düzeni , La – Re – Mi) are standard today . The bağlama rose from its exclusively accompanying function to a solo played melody instrument. From the 1930s onwards, singers who were formerly only known regionally, reached a wide audience in addition to radio through festivals and folk houses ( halk evleri ), in which they performed on a concert stage. The songs, sometimes performed on poorly tuned instruments at village festivals, were elevated to a musical style somewhere between folk and art music. As early as 1947, a separate choir for folk music was founded on the public radio (TRT) in Ankara, and since the mid-1970s, state music schools have offered their own courses in folk dance and folk music. The new style of folk music in the cities comes with a mixed choir, a large orchestra that plays by sight and a conductor. Ruhi Su (1912–1985) , who was trained in European opera singing, had a decisive influence on the development of folk music into an art form . In 1952 he was imprisoned for five years for political reasons. Then he sang folk songs with his strong but soft operatic voice, in which he accompanied himself with simple clear melodies on the bağlama . He became famous for his singing style, which stood out both from the rough, untrained, sometimes recitative voices of the village singers, as well as from the musically overloaded arrangements of the city orchestras.

One of the political changes after 1923 was that the oppression of the Alevis was lifted. They no longer had to practice their rituals and religious chants in secret.

Aşık Daimi (İsmail Aydın)

The best-known aşık singers in the mid-20th century were Aşık Veysel (1894–1973), Sabit Müdami (1914–1968), Davut Suları (1924–1984 / 5), Feyzullah Çinar (1937–1983), Aşık Daimi ( 1932–1983), Musa Eroğlu (* 1946), Muhlis Akarsu (* 1948, he died in 1993 in the Sivas arson attack on an Alevi cultural festival in honor of Pir Sultan Abdal) and in Azerbaijan Adalet Nasibov. The development of “Kurdish folk music” in the course of the 20th century followed somewhat later, but for motives similar to those in the search for one's own Turkish music; only not with support, but in opposition to state policy. Most of today's well-known popular singers from Turkey are Kurds . Many of them are assigned to the Zaza , who regard themselves as Kurds despite their different languages. Yavuz Top († 1950), Aşık Daimi, Davut Suları, Ali Ekber Çiçek (1935–2006), Muhlis Akarsu, Arif Sağ (* 1945), Rahmi Saltuk (* 1945) and Süleyman Yildiz are Alevis and are considered Zaza. The group Muhabbet shaped a special “Alevi style of music” in the 1980s . It was founded by some of the most famous baglama players who sang songs from the ancient aşık tradition. From the 1990s onwards, Arif Sağ and Erdal Erzincan (* 1971) contributed to the further development of a virtuoso new instrumental style when they developed the selpe technique in Turkey , in which the fingers of the right hand pluck the strings without a pick.

Since the 1960s, some aşık came to Germany with the Turkish “guest workers” , where they took up the topic of migration and Turkish life in the diaspora in their texts. Until the 1980s there were a few concerts in Germany where aşık performed. A decade later, interest in aşık music declined in both Turkey and Europe. Today there are political songwriters from left and right groups who refer to the tradition of the aşık and perform songs by Pir Sultan Abdal or Aşık Veysel.

Şivan Perwer (* 1955) became known in Germany for Kurdish political songs in the 1970s . Nizamettin Ariç (* 1956, lives in Berlin) published traditional and political songs about Kurdistan in his Kurdish Ballads , in which he combined the dengbêj singing style with folk musical instruments and elements of Western chamber music.

Turkish nationalist musicians like Ozan Arif (1949–2019) do not like to refer to themselves as aşık , but rather as ozan , because they do not want to be confused with the Alevis and in order to establish a line of tradition with the Central Asian epic singers.

After the military coup on September 12, 1980 , many left-wing musicians left the country and fled to Europe. Left-wing political singers have called their mixture of aşık songs and western pop music, since they were allowed to perform again in Turkey from the mid-1980s, özgün müzik ("original music"). An earlier name for this style was Anadolu pop , which originated in the late 1960s . At the end of the 1980s, özgün müzik , which had meanwhile become commercially successful, took up style elements of the Arabesk müzik , whose invention in the 1960s is attributed to Orhan Gencebay (* 1944). The arabesque version of a song by Mahzuni Serif (1940-2002) became a national hit. The özgün müzik of the Kurdish singers Ali Asker (* 1954 in Tunceli , fled Turkey in 1981, lives in France) and Ahmet Kaya (1957–2000) is particularly popular with Kurdish nationalists .

literature

• PN Boratav: Ozan. In: CE Bosworth et al. a. (Ed.): The Encyclopaedia of Islam. New Edition . Volume 8. Brill, Leiden 1990, ISBN 90-04-09834-8 , p. 232.
• Galliano Ciliberti: Azerbaijan. In: Ludwig Finscher (Hrsg.): The music in past and present . 1994, col. 924-936.
• Martin Greve: The music of the imaginary Turkey. Music and musical life in the context of migration from Turkey to Germany. Habilitation thesis. Technical University Berlin. Metzler, Stuttgart / Weimar 2003, ISBN 3-476-45314-6 ( albakultur.de )
• BE Lewis: ʿĀshik. In: CE Bosworth et al. a. (Ed.): The Encyclopaedia of Islam. New Edition. Volume 1. Brill, Leiden 1990, p. 697.
• Irène Mélikoff: Oghuz-Nāma. In: CE Bosworth et al. a. (Ed.): The Encyclopaedia of Islam. New Edition. Volume 8. Brill, Leiden 1990, ISBN 90-04-09834-8 , p. 163 f.
• Kurt Reinhard : Comments on the Aşık, the popular singers of Turkey. In: Fritz A. Kuttner, Fredric Lieberman (Eds.): Perspectives on Asian Music. Essays in Honor of Laurence ER Peck . Society for Asian Music, New York 1975, pp. 189-206 ( Google books ).
• Ursula Reinhard, Tiago de Oliveiro Pinto: Singers and poets with the lute: Turkish Aşık and Ozan. Reimer, Berlin 1990, ISBN 3-496-00486-X .
• Anna Oldfield Senarslan: Women asiqs of Azerbaijan: Tradition and transformation. University of Wisconsin, Madison 2008.

Web links

Commons : Aşık  - collection of images

• Melih Duygulu: The Aşık tradition in Anatolia and music of the Aşık. turkishmusicportal.org

Individual evidence

1. ↑ Lewis: ʿĀshik , EI (2), Volume 1, p. 697
2. ↑ Clémence Scalbert Yücel: The Invention of a Tradition: Diyarbakır's Dengbêj Project . In: European Journal of Turkish Studies , January 4, 2010
3. ↑ Senarslan 2008, p. 18
4. ↑ Armenian gusan derived from Parthian gōsān : Mary Boyce : GŌSĀN. Encyclopædia Iranica, December 15, 2002; Mary Boyce: The Parthian "Gōsān" and Iranian Minstrel Tradition. ( Memento from January 11, 2014 in the Internet Archive ) In: Journal of the Royal Asiatic Society of Great Britain and Ireland , No. 1/2, April 1957, pp. 10-45
5. ^ Susanne Ziegler: Georgia. In: Music in the past and present. Sachband 3, 1995, col. 1276
6. ^ Armenia, § 1,3: Peasant Song and Instrumental Music . In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . Vol. 2. Macmillan Publishers, London 2001, p. 17
7. ^ Charlotte F. Albright: The Azerbaijani ʿĀshiq and His Performance of a Dāstān. In: Iranian Studies , Vol. 9, No. 4, Taylor & Francis, Fall 1976, pp. 220-247, here p. 221
8. ↑ Shāʿir. In: The Encyclopaedia of Islam. New Edition . Volume 9, Brill, Leiden 1990, p. 225
9. ^ Dwight F. Reynolds: Learning Epic Traditions. In: Virginia Danielson, Scott Marcus, Dwight Reynolds (Eds.): Garland Encyclopedia of World Music. Volume 6: The Middle East . Routledge, New York / London 2002, p. 345
10. ↑ Ruth Michels-Gebler: Blacksmith and Music. About the traditional combination of blacksmithing and music in Africa, Asia and Europe. Publishing house for systematic musicology, Bonn 1984, p. 143 f.
11. ↑ Mélikoff: Oghuz-Nāma. In: EI (2), Volume 8, p. 163 f.
12. ↑ Senarslan 2008, pp. 20-22
13. ↑ Senarslan 2008, p. 24 f.
14. ↑ Senarslan, p. 28
15. ^ Özgür Sadık Karataş: Classical Turkish music in semai coffeehouses in Istanbul of Ottoman period. (PDF) In: European Journal of Research on Social Studies , Volume 1, No. 1, August 2014, pp. 84–87
16. ^ Greve, p. 223
17. ↑ Ursula Reinhard: Has Turkish folk music remained constant over the centuries? In: Rüdiger Schumacher (ed.): From the diversity of musical culture. Festschrift for Josef Kuckertz. At the end of the 60th year of life. (Word and music. Salzburg academic contributions) Ursula Müller-Speiser, Anif / Salzburg 1992, pp. 431–438
18. ↑ Kurt Reinhard 1975, pp. 189–197
19. ↑ Azerbaijan Mugams. azworld.org
20. ↑ Ciliberti, MGG, Sp. 925f
21. ↑ Ciliberti, MGG, Col. 925
22. ^ The art of Azerbaijani Ashiq. UNESCO
23. ↑ Charlotte F. Albright: 'Āšeq. In: Encyclopædia Iranica , August 16, 2011
24. ↑ Kurt Reinhard 1975, p. 196, speaks of the fact that they existed earlier, until 1975 he himself had not met any female aşık in Turkey
25. ↑ Murat Bulgan: Asik Veysel (1894-1973): Life and work of a Turkish folk singer. Dissertation. University of Cologne. Grin, BoD, 2004, p. 34
26. ↑ Anna Oldfield Senarslan: “It's Time to Drink Blood like it's Sherbet”: Azerbaijani Women Ashiqs and the Transformation of Tradition. (PDF; 729 kB) Conference on music in the world of Islam. Assilah, August 8-13 August 2007, p. 2 f.
27. ^ Karl L. Signell: Makam. Modal Practice in Turkish Art Music . Da Capo Press, New York 1986, p. 11
28. ^ Greve, p. 348
29. ↑ Greve, pp. 219-228, 272, 354
30. ^ Greve, pp. 254, 355
31. ↑ Martin Greve: The music of the imaginary Turkey. (PDF; 98 kB) Broadcast manuscript of SWR II, January 4, 2010
32. ^ Eliot Bates: Social Interactions, Musical Arrangement, and the Production of Digital Audio in Istanbul Recording Studios. Dissertation. University of California at Berkeley 2008, p. 67 ( on Google books )
33. ↑ Greve, p. 226 f.
34. ↑ Maria Wurm: Music in Migration: Observations on the Cultural Articulation of Turkish Youth in Germany. Transcript, Bielefeld 2006, ISBN 978-3-89942-511-6 , p. 19.