Cultural environments where stringed instruments, words and performers represented have also an important role in production, transfer and representation of oral cultural products. These environments bearing traces of the geography and social atmosphere are important determinants of the music character that woman within the Alawi-Bektashi culture and socio-musical environment they raised (Cemevi/djmevi). Besides, the relation they established with the music in such environments is of importance in terms of defining musical identities of Alawi-Bektashi women (āşık, zākir).The study has been conducted with an interpretative understanding and ethnographical approach over the gender roles with the idea saying that gender2 perspective is useful for investigating the music role of woman within Alawi-Bektashi culture. Within this approach, the experiences of women who produce word-music and represent the oral culture products in this culture were based on within the scope of audio and published music data in the fieldwork. Accordingly, while the following questions are the questions which form the starting point of the study, the answers given to these questions ranked among the important findings of the result: “Can you see the cultural environments where women are raised and their performance environments as an important criterion determining their musical identities?” “Do the subject-musical transfers that women discussed in the cultural environment where they raised form a basis for examining the female-specific musical identity?” The scope of the research is related with impacts of the cultural environment where women are raised (ritual and conversation environment of space) on the artistic representation of women. Questions constituting the focus of the research are based on the assumption that the performance environment (space) where women are presenting is closely associated with the spatial theory and social gender coding.