Anatolian bards, were wandering poet-musicians in Anatolia who sang and performed in public meetings. Accompanying the bard would be the guitar-like instrument saz or baglama, a long-necked lute that is played with a plectrum ( mizrap ) or with using bare hands (selpe style).
The bards’ repertoire contains hymns, requiems, as well as heroic tales. Their melodies are called Türkü, as opposed to the other type of Turkish songs, called “sarki”, which included more Arab-Persian influence.
Simple language, a powerful style
Türkü, unlike the Ottoman Turkish, contained more rural and regional Turkish words and very few words of Arabic or Persian origin. The lyrical form is powerful, rich in metaphors and other such symbolic expressions.
Saz, the instrument par excellence
The saz is here the instrument par excellence. It accompanies the Anatolian bard. From the two words Turkish people use to call Anatolian bards; (asik or ozan); the first word comes from Arabic origin and etymologically means “the lover”, of course used in the mystical sense. The second word “ozan” is an authentically Turkish word, and means “troubadour” or “itinerant poet-musician.”
Ozan has nevertheless maintained with this historic sense, in some dialects of Anatolia. Most saz Sairi , of halk ozani , poets, musicians are from the Sunni regions of Kars and Erzurum, or from the Alevi-Bektashi communities in regions of Sivas and Erzincan.
Tasmanian folk music is well constructed, at least partially, on the foundations that had thrown the poets of Alevi-Bektashi order, which accompanied the songs saz had a liturgical function.
The Türkü was neglected during the Ottoman period as it was seen as the music of the commons. The Türkü tradition however lived thanks to the Alevi-Bektashi bards. The genre was further became popular during the early years of the Turkish republic. From the early years, The Turkish Republic launched a vast project to collect and archive all regional folk music which is now considered the national music.