Minstrels, who express their emotions and thoughts accompanied by their saz (a stringed instrument) and are the single most important representatives of the oral tradition, serve as interpreters of the people among whom they are a part of as well as reflecting their spiritual values through improvised tunes and playing a significant role both as the carriers of language and culture. One of these minstrels was Âşık Şenlik of Çıldır, who held an important place within the Eastern Anatolian minstrel tradition. As a lover of his people, his tunes, which were the hallmark of the century in which he lived, were deeply themed around the social, political, and societal events of that period, and thus became etched both in the consciousness of the nation and its people alike. Most of his tunes were didactic in nature, and in addition to being rich in knowledge and meaning, they must separately be addressed in terms of reflecting the language of the people and the region he belonged to nevertheless. No minstrel cannot be thought separate from their lands, region, and the local people. Their tunes, in which they sing in improvisation with the entire body, therefore, carry the all of the dialectal richness of that region. This study examines the consonant harmonies found in poetries of the minstrel Şenlik, being a Karapapak/Terekeme Turk, which only carry tremendous resonance from the past into the present, but also hold significance from dialectal features. Upon classifying the phonetic qualities of these harmonies determined in his poems in detail, the status of these matters especially in some derivational affixes and inflections is given through various examples determined in his poetry.

Âşık Şenlik of Çıldır, Terekeme / Karapapak, Poetry, Dialect, Consonant Harmonies