Tracks:

Hey Lo Lo Mîro (Hey Mîr'im) : Form: Stranęn Dawatę Serso 1 : Form: Serso Serso 2 : Form: Serso Narînk 1 : Form: Narînk Narînk 2 : Form: Narînk Narînk 3 : Form: Narînk Elo Dîno 1 (Deli Ali 1) : Form: Stranęn Dawatę Elo Dîno 2 (Deli Ali 2) : Form: Stranęn Dawatę Elo Dîno 3 (Deli Ali 3) : Form: Stranęn Dawatę Hespę Begzadę 1 (Beyzadenin Ati 1) : Form: Stranęn Dawatę Hespę Begzadę 2 (Beyzadenin Ati 2) : Form: Stranęn Dawatę Elî Entaren 1 : Form: Stranęn Dawatę Elî Entaren 2 : Form: Stranęn Dawatę Edîso : Form: Stranęn Dawatę Sin ű Seblax : Form: Stranęn Dawatę Heyran Dę Rabe (Hayran Haydi Kalk) : Form: Stranęn Dawatę Teymez : Form: Stranęn Dawatę Xelef : Form: Stranęn Dawatę Wernę Wernę (Gelin Gelin) : Form: Stranęn Dawatę Zeynel Beg / Bedirxan Beg (Zeynel Bey / Bedirhan Bey) : Form: Stranęn Dawatę Sęx Barzan (Barzan Seyhi) : Form: Stranęn Dawatę Ęzdîn : Form: Stranęn Dawatę Gulokę : Form: Stranęn Dawatę Męrgę : Form: Stranęn Dawatę Befrokę : Form: Stranęn Dawatę Banę Mizgevtę 1 (Cami Dami 1) : Form: Stranęn Dawatę Banę Mizgevtę 2 (Cami Dami 2) : Form: Stranęn Dawatę Ev Sev (Bu Gece) : Form: Stranęn Dawatę Mala Me (Evimiz) : Form: Stranęn Dawatę Nęriyo (Teke) : Form: Stranęn Dawatę Tew Xan : Form: Stranęn Dawatę Temę Bazokî : Form: Stranęn Dawatę Xena (Kina) : Form: Stranęn Dawatę Xerîb (Yabanci) : Form: Stranęn Dawatę Kew Derî (Keklikler) : Form: Stranęn Dawatę Ezo Birîndarim (Yaraliyim) : Form: Stranęn Dawatę Heseno : Form: Stranęn Dawatę Kuriko (Cocuk) : Form: Stranęn Dawatę Dębila Bęto (Haydi Aksin) : Form: Stranęn Dawatę Sosin (Cigdem) : Form: Stranęn Dawatę Hey Canę (Hey Guzel) : Form: Lawje Bedirxan Beg (Bedirhan Bey) : Form: Lawje Seydik 1 : Form: Lawje Seydik 2 : Form: Lawje Rayę : Form: Lawje

Rave (Sarhos) : Form: Heyranok Heyran Jaro (Hayran Oldugum) : Form: Heyranok Kecikę (Kiz) : Form: Heyranok Lawkę Tuxűbî (Tuxűb'lu Delikanli) : Form: Heyranok Nęrîbel (Benekli Teke) : Form: Heyranok Dęra Hînę : Form: Pîrepayîzok Pîrepayîzok 1 : Form: Pîrepayîzok Pîrepayîzok 2 : Form: Pîrepayîzok Pîrepayîzok 3 : Form: Pîrepayîzok Meskę (Yayik) : Form: Stranęn Meskę Hey Malikę Vę Alemę (Ey Bu Alemin Yaraticisi) : Form: Medîha Rabe (Kalk) : Form: Medîha Qiyametę (Kiyamet) : Form: Medîha Mewlűd (Mevlit) : Form: Mewlűd Kela Dimdimę 1 (Dimdim Kalesi 1) : Form: Destan Kela Dimdimę 2 (Dimdim Kalesi 2) : Form: Destan Kela Dimdimę 3 (Dimdim Kalesi 3) : Form: Destan Kela Dimdimę 4 (Dimdim Kalesi 4) : Form: Destan Kela Dimdimę 5 (Dimdim Kalesi 5) : Form: Destan Kela Dimdimę 6 (Dimdim Kalesi 6) : Form: Destan Kela Dimdimę 7 (Dimdim Kalesi 7) : Form: Destan Sînem Xan 1 (Sinem Han 1) : Form: Destan Sînem Xan 2 (Sinem Han 2) : Form: Destan Sînem Xan 3 (Sinem Han 3) : Form: Destan Lavi (Oglum) : Form: Sesbendi Hayoni Tela Sorsete Slela (Gokten Bir Guvercin Indi) : Form: Sesbendi Gulxendan : Form: Sesbendi Narînę (Narin) : Form: Sesbendi Gulę : Form: Sesbendi Kanik (Pinarbasi) : Form: Sesbendi Hey Barkin (Yukleyin) : Form: Bęrîte Hoy Senge 1 (Sendir 1) : Form: Bęrîte Hoy Senge 2 (Sendir 2) : Form: Bęrîte Pista Kîrorî (Kîror'un Ardi) : Form: Bęrîte Semlę : Form: Bęrîte Sehmęranę (Sahmeran) : Form: Bęrîte Xalid Axa (Halid Aga) : Form: Bęrîte

About Hakkari music (excerpt from the liner notes)
In Hakkari, the word “miqam” [makam] is not used to describe a series of tones [the makam of Ottoman music or the ayak of folk music], but rather refers to a melodic formula and rhythm. The ornamentation of a particular melody with different melodic progressions while its main body remains the same, or the singing of the melody in a different style is the singer’s interpretation, his “selîqe.” In the traditional music of Hakkari, the relationship between melody and lyrics is quite transient, and this transience appears in several different ways:

       * Performance of the same melodic formula with different words [ex. Xelef, Sosin]
       * Singing of the same lyrics within a few different melodic formulas [ex. Sînem Xan, Seydik, Hespę Begzadę]
       * Particularly in epics, the singing of a few portions of the text in different melodic formulas [ex. Kela Dimdimę, Sînem Xan]
       * Singing of the same melodic formula in different rhythms [ex. the wedding song “Bablekan” begins in 6/8, and as the tension of the wedding mounts it changes to 2/4. The prosody and melody is adapted to a 2/4 formula]

       The minstrel tradition present among the neighboring Turks, Armenians and Azeris, in which the words and music are attributed to a particular person, is not encountered among the Kurds. The phenomenon of anonymity, considered to be one of the general characteristics of Kurdish music, is also valid for the Kurds of the Hakkri region.7 However in the dengbęj tradition, the phenomenon is seen of dengbęj’s, or people of the area turning events they witness into epics that the dengbęj’s then disseminate to villages in their travels. In addition, it is said that folk poets and bards who have come up in the medreses enrich their repertoire with anonymous songs, and produce pieces in the language of the people which, sung among the people over time, once again become anonymous. This anonymization is true more for the poetry of the simple and clear language of the Feqîyę Teyran than for the poets writing under the influence of Arabic and Persian.

       Though ethnomusicologist Dieter Christensen said he encountered diphonic musical structures in the collections he made in the region in 1958, the music is of a monophonic character. Christianson does add that more than actual polyphonic singing, he witnessed two variants of a melody being sung at the same time; this can be explained as the result of two singers knowing different variants of the song.

       Hakkari has been the scene of migrations and battles throughout history and thus, despite being a region where cultures came into contact with each other and lived together, it did not become an economic center. Even the local people had established economic ties more with cities like Urmiye, Musul and Van. For this reason, we can’t speak of an urban culture in Hakkari town distinct from that of the surrounding provinces and villages. But though the general musical repertoire cannot be called heterogenous, some variety can be said to exist in terms of song forms and singing styles. These differences in singing style can be attributed to whether the singer lives in the highlands or the plains, the emergence of different styles through contact with neighboring tribes, the learning of some non-local forms from Yerevan and Baghdad radio after the 1950s, and the use of different theatrical vocal usage by each different master dengbęj. In addition the medreses,8 in which feqîs [students] coming from different regions have become a channel for reciprocal musical influence between regions; the transmission by their students of religious musical singing styles to the traditional songs has contributed to this variety of styles.

       Among the Pinyanis,îs and Goyîs the fundamental carrier for music is the human voice, but among the Ertus,îs one also encounters davul and zurna played by professional musicians from outside the community [Nusaybin, Cizre, Mardin, S,irnak]. Davul and zurna is not played by the tribe’s own members because it is considered shameful for an “es,îr” [tribal member] to play these instruments. But during the course of his collections in 1958 Christiansen did witness some musicians accompanying their epics with “rebab,” a type of spike fiddle, and in some of the pastures, the playing of davul with the hands rather than the “tokmak-çubuk” [thick and thin sticks]. Besides this, it is known that S,emdinli and Yüksekova def [frame drum] was played at some mevlids, and that in S,emdinli a double-reed flute [pîk or duzele] was used, but these instruments are no longer played.

       The fact that in Hakkari, the Kurds and Nestorians lived among each other for a long period, went to each other’s weddings and performed music together is evident in some songs that arose from a clear reciprocal influence between these peoples. Though recordings of Nestorian traditional music could not be located, important clues are to be found in classical songs sung in the divanhane [assembly room] in two languages [Kurdish and Aramaic]; and Assyrian and Kurdish songs accompanying the churning of butter that so resemble each other in rhythmic and melodic structure that they are nearly identical.

       Along with this reciprocal influence, common songs and forms can be noted as examples of interregional influence in other regions as well: in Duhok, in the Bahdînan region, forms resembling “s,es,bendî”; the song known as Xelef being sung in Botan as “Ez Xelefę Botîme” [I am Xelef of Botan], and in Hakkari as “Ez Xelefę Hekarîme” [I am Xelef of Hakkari]; the presence of a song in Cizre, S,?rnak and Eruh resembling “heyranok” but sung in a more tense vocal style and with more use of vocal breaks; and the singing of the song known as “Seydik” in both Hakkari and Eruh with the same words but to a different melody. In addition, a portion of the wedding and divanhane songs of the Goyan tribe of Uludere are sung in quite a similar style in S,?rnak.

       As the makams/modes of the Turkish region of Mesopotamia have not yet been analized, and as we don’t consider it appropriate to make theoretical statements on this region’s music in the terminology of Ottoman or Turkish folk music. A comprehensive study of the regions music needs to be conducted, taking into account the theroetical knowledge of the music of neighboring peoples [Azeris, Armenians, Persians and Arabs].