Analysis of the modal and rhythmic structures in the works of Âşık Sadık Doğanay

Abstract

The works and distinctive performance style of the blind minstrel Âşık Sadık Doğanay from Zile, Tokat, gained recognition far beyond his local region. His folk songs have been performed in almost every musical environment where the bağlama is played and Turkish folk songs are sung, while his unique performance characteristics have frequently been emphasized. Known for his poetry, musicality, and bağlama performance, Sadık Doğanay occupied a distinctive place among the minstrels of his period through his exceptional instrumental style. Despite being visually impaired from birth, he demonstrated remarkable mastery of the bağlama and became recognized as both a spiritual and folk minstrel. Although various studies have been conducted on Sadık Doğanay’s life and works, the literature review revealed that his musical productions had not previously been examined from the perspective of modal structures and musical characteristics. Therefore, this study was conducted to identify and explain the modal features of his works, address this gap in the literature, and contribute to the field through a perspective not previously explored. The research was designed within the framework of qualitative research methodology and carried out through document analysis. The data set consisted of works included in the TRT Turkish Folk Music repertoire as well as compositions compiled and transcribed by Tokmak (2002), Özer (2009), and Kurt (2016). The works were analyzed within the framework of Turkish music theory according to their rhythmic structures (usûl), modal characteristics (makam), final tones (karar perdesi), and vocal range.The findings revealed that a total of 29 works belonging to Sadık Doğanay were examined and that these works employed various rhythmic patterns, including 2/4, 4/4, 5/8, 6/8, 7/8, 9/8, and 10/8 meters. In modal terms, most of the works were structured around the characteristics of the Hüseyni and Uşşak makams. In addition, all of the works were found to conclude on the pitch “La,” and the majority were composed within an octave vocal range. Future studies may compare Sadık Doğanay’s repertoire with those of other minstrels from the Zile region in order to examine the shared musical characteristics of the region in greater detail.