İsmail Doruk, born in 1929 in Eskişehir, was a renowned performer, kasidehan, and mevlidhan in Turkish Religious Music, particularly known for his performances of kasides. He was widely known in public life by the nickname “Bülbül Hoca” and gained nationwide recognition in Türkiye through his kaside recitations during the 1970s and 1980s. With his voice in mevlid, ilahi, and kaside genres, he aimed to establish a spiritual connection between the listener and God, earning a lasting place in history as an artist who left a mark both in traditional and modern media environments.

İsmail Doruk’s father was Hilmi (or Selim, according to some sources) Sırrı Efendi, and his mother was Şerife Hanım. The family resided in the Odunpazarı neighborhood of Eskişehir. Doruk grew up in this neighborhood as one of two children. After losing his father at a young age, Doruk attended an art school following primary education, under his mother’s guidance, but his school life remained unstable due to his incompatible and restless temperament. His mother sought to bring him into order through marriage and married him at a young age. From this marriage, he had five children named Ayşe, Süleyman, Şerife, Murat, and Nazife.

After completing his military service, Doruk began working in 1955 at the Eskişehir Sugar Factory, where he held a civil service position but never adapted to the regularities of professional life. He also worked for a time in a printing factory with his brother. His voice, which attracted attention through songs and folk tunes performed at weddings, holidays, and various gatherings, quickly made him a well-known figure in the Eskişehir region. Particularly due to the strength of his voice, he was drawn toward religious music. However, he did not receive classical training in this field, did not memorize religious texts, and lacked systematic knowledge of Quranic recitation and tecvid. His only asset was his exceptional voice.

In 1950, İsmail Doruk applied to Istanbul Radio to assess his musical talent. However, traditional family pressures, especially opposition from his grandmother, rendered this attempt unsuccessful. This obstacle temporarily deterred him from pursuing a public musical career. Nevertheless, his passion for music persisted, and he continued to recite religious poetry in maqams using his self-developed voice.

Doruk’s daughter encouraged him to return to music and facilitated his participation in a 1966 examination in Istanbul. After passing this exam, Doruk began serving as a muazzin in mosques in Istanbul. He served for six years at Yeni Camii and then for two years at Bursa Ulu Camii. During his time in Istanbul, he met the composer Hafız Sadettin Kaynak, who served at Selimiye Camii, and worked with him. He also became a student of Yusuf Nalkesen, and these relationships significantly enhanced his knowledge of maqams and his proficiency in musical performance.

In the 1970s, Doruk gained widespread recognition through his recitation of the poem attributed to Yunus Emre, the “Bülbül Kasidesi”, which he performed on television programs. This kaside earned him the popular title of “Bülbül Hoca”. His powerful voice, sincere emotional expression, and faithful adherence to traditional style elevated him to a distinguished position within the religious music tradition. His interpretations, particularly in the genres of dua and kaside, were closely followed by television producers of the era, making him a frequently invited artist during special occasions such as Ramadan.

In 1993, under the direction of Yusuf Nalkesen, his album titled “Münacat Kasideler ve İlahiler” was released through Uzelli Stereo. Following this, the same company released his second album, “Mevlid-i Şerif”. These albums hold archival significance in the context of traditional religious music recordings. Doruk’s musical understanding, evident in his use of maqams, ornamentation, and performance style, can be thoroughly studied through these recordings.

^{Münacat Kasideler ve İlahiler album (}Uzelli⁾

^{Mevlid-i Şerif album (}Uzelli⁾

Due to health issues, Doruk left his post in Istanbul and returned to Eskişehir, where he began serving as a muazzin at the Sivrioğlu Camii in Odunpazarı. Later, he continued his muazzin duties at Akarbaşı Camii, Çarşı Camii, and finally at Reşadiye Camii. After retirement, Doruk ceased active religious duties and opened a small cologne shop behind the Eskişehir Çarşı Camii, leading a simple life.

İsmail Doruk’s musical style was shaped by an interpretive approach based on irticali performance. His interpretations in the Hicaz maqam, characterized by melodic movements aligned with the text and ornamental elements, attracted particular attention. In his recitations of kasides, he skillfully employed ornamentations such as vibrato, portamento, glissando, grupetto, trill, and mordent. Examples of these techniques can be found in his performance of Yusuf Nalkesen’s kaside “Takdiri İlahi Dizi Dizidir”. These performances, documented through transcription studies, remain important recordings that attest to his mastery in music.

İsmail Doruk passed away on 25 September 2000, leaving behind valuable performances and vocal recordings that contributed significantly to traditional religious music. İsmail Doruk, remembered as “Bülbül Hoca”, holds a unique place in the history of Turkish religious music, particularly through his interpretations of kasides that seamlessly blended mosque and tekke musical traditions.