THE MUSICAL PRACTICES IN THE WEDDING TRADITION OF ERZINCAN AND THE CHANGING REPERTOIRE OVER TIME

A detailed examination of the musical practices specific to Erzincan's wedding tradition and the transformation of its repertoire over time requires field-based research to better understand the region's contemporary cultural structure. This study investigates how wedding music traditions in Erzincan have evolved over time and in what ways they have changed. It seeks to uncover the place and function of musical elements that reflect the cultural diversity of this geography within the broader cultural fabric of Erzincan, by closely examining wedding music practices that stand out within the region's rich cultural identity. The research documents long-standing musical practices observed in Erzincan weddings, identifies changes in the repertoire, and evaluates the impact of these changes on traditional musical expressions within the local culture. In this context, the study employs qualitative research methods to explore the role of music within its spatial and cultural environment. Beginning with a literature review, the research focuses on music and its related cultural structures, aiming to interpret the dynamics of cultural transformation. This research adopts an ethnomusicological fieldwork approach and was conducted in the city center of Erzincan. Techniques such as field observations, face-to-face interviews, field notes, and repertoire comparisons were employed throughout the study. Data were collected from a participant group consisting of five musicians familiar with the region's cultural structure and musical heritage; four young individuals (two women, two men) who regularly attend weddings; and four elderly participants in their seventies (two women, two men). The younger participants were between the ages of 18 and 25, while the older group included individuals aged 60 and above, according to the United Nations definition. This diversity in the participant profile enables a multidimensional evaluation of the role of music across age, gender, and cultural contexts. The study, which aims to document the musical repertoire performed at weddings in Erzincan from the perspectives of both musicians and listeners, focuses on structural and functional changes in the repertoire. Findings indicate that Erzincan-specific pieces in 4/4, 6/8, 2/4, and 9/8 meters-particularly the Erzincan Duz Halay & imath; and folk dances from other regions-continue to be performed. However, local pieces such as Sivingin Ucu and Tavuk Bar & imath;, which were once popular, are no longer in demand today. Participants stated that Ankara-style dances are especially popular at weddings, and that the decline in musical diversity has led to a narrowing of the repertoire and a limitation of the expressive range in folk dances, as well as the emergence of short-term trends that undermine cultural continuity. In support of this, interviewees noted that dances such as Ankara dances, Southeastern halays, kolbast & imath;, and horon are often preferred over Erzincan-specific folk dances. It was observed that the Erzincan wedding repertoire has expanded with musical pieces from different regions, and is shaped by popular songs selected according to the season or timing of the wedding, with transient trends playing a decisive role in repertoire formation. The narratives of the participants indicate a transformation process in which the traditional understanding of performance based on collective singing accompanied by local instruments has been replaced by individualized performances and the widespread use of digital music. Elderly participants recalled that, in the past, folk songs were sung collectively with drum and zurna in the Erzincan city center; in Kemaliye, solo performances accompanied by clarinet, c & uuml;mb & uuml;& scedil; and darbuka were more prominent, while in weddings where asma davul and zurna were not present, 'dem & ccedil;evirme' folk songs were performed. According to the common opinion of the participants, nowadays, music is mostly performed by a soloist accompanied by an electronic org or the songs brought by the wedding guests on portable memory sticks are played through a computer. Older participants emphasized that they find this new form of performance quite noisy and that individual participation in the music has become almost impossible. The study revealed that the wedding music repertoire in Erzincan has undergone a transformation not only in terms of content, but also in terms of performance style, function and level of cultural representation. The collective forms of singing that appeal to the collective memory in traditional music have been replaced by individualized performances and standard repertoires carried over digital media. This transformation is not only a technical change, but also a redefinition of social relations, intergenerational transmission and the ceremonial function of music. Participant statements show that the music performed at weddings is no longer a tool that carries local cultural memory as in the past; instead, it has become more consumption-oriented and appeals to periodical tastes. In this respect, weddings in Erzincan provide a dynamic social ground that shows both how the traditional is transformed in the contemporary context and how cultural identity is reconstructed through music.