BARAK AND BOZLAK MELODİES İN THE CONTEX OF THE STYLİSTİC CHARACTERİSTİCS OF ŞERİF AKBAĞ FROM GAZİANTEP AND MUHARREM ERTAŞ FROM KIRŞEHİR

Anelysition of Barak Songs Barak folk songs play a very important role in Gaziantep and Turkish folk music with its unique musical style. Barak folk songs are traditionally played at places such as Nizip, Oguzeli, Kargamis, Kilis, Gaziantep, Adana, and Kahramanmaras. They are considered to be "uzun hava", or particularly lengthy songs. They start of very high pitched and switched to period of low pitched. These songs typically switched between high pitched periods called "yuksek hava", and low pitched periods called "coma". Barak folk music is known for its crying, rebellious, and sometimes even reproachful styles of storytelling in its songs. However the style of each song is subject to the performing artist's interpretation and location. They typically tells stories about Barak tribes who moved from Central Asia to Anatolia and their struggles from nomadic life to permanent settlements; and their conflicts and disagreements with other nomadic tribes. These same styles of songs and story telling can be found in other folk songs of Central Asian tribes and these is not a coincidence. One of the best representatives in region of Gaziantep Barak is Şerif Akbağ. Fort this reason, Şerif Akbağ’s performance and style characteristics heve been placed at the center of our Gaziantep Barak music studies. He was born in Gaziantep,Oğuzeli. He remembered Muharrem Ertaş with his sound shriil and exceeding an octave. Starting from shrill just like screaming to continue bass sounds and reflect to rebellion in this songs to show to prove the thruth of these definitons about him. Şerif Akbağ is placed at the center of our study because they are the most important performers of the Gaziantep Barak style and Muharrem Ertaş is the most important performer of the Bozlak style. Key Words: Folk music, Barak, Bozlak, Türkü, Style.