COVID-19 pandemisi, kültür sektörü gibi esnek ve güvencesiz çalışmanın yaygın olduğusektörlerde çalışan pek çok emekçinin işini, gelirini, sağlığını ve dahası yaşam arzusunuelinden aldı. Böylesi bir süreçte pandeminin 8. ayında başladığımız bu araştırma, müzikemekçilerini merkeze aldı ve karşı karşıya kaldığımız krizi anlamaktan öte ona sebep olançalışma koşullarını kavramayı hedefledi.Araştırmamız, yalnızca icra alanında faaliyet gösteren müzisyenlere değil, sahne çalışanlarından stüdyo çalışanlarına, organizasyondan eğitime bu alanda emek veren herkese ulaşmayı ve olabildiğince mesleklere ilişkin hem ortak hem de kendilerine özgü sorunları tespitetmeyi hedefledi. Bu bakımdan, müzik sektörünü var eden tüm meslek çalışanlarını kapsayan “müzik emekçisi” ifadesini kullanmayı tercih ettik.Öncelikle anket çalışmasına ve derinlemesine görüşmelere katılarak bu araştırmayı mümkünkılan, görüş ve deneyimlerini paylaşan tüm müzik emekçilerine teşekkürü borç biliyoruz.Sektörün sorunlarının müzik emekçilerinin de katılımcı oldukları bir politika geliştirme süreciyle çözülebileceğine inanıyoruz. Çalışmamızın bu sürece katkı sunması dileğimizdir.
Selda Dudu
Evrim Hikmet Öğüt
Özge Ç. Denizci
This study examines the transformation and increasing popularity of Black Sea music in Turkey and analyzes the interaction between regional musical traditions and broader social, cultural, and market dynamics. Originating in the Eastern Black Sea region and associated with communities such as Laz, Hemşin, and Georgian populations, this musical repertoire has undergone notable changes particularly since the late twentieth century.
From the 1990s onward, Black Sea music gained wider visibility through the growing number of performers, the expansion of audiences, and the influence of popular music genres such as rock, pop, and jazz. These interactions contributed to the emergence of hybrid musical forms that altered both the sound and perception of traditional repertoire. The transformation of the well-known folk song Çayeli’nden Öteye provides a representative example of this process, with reinterpretations by artists including Barış Manço and Okay Temiz and later performances across different musical genres.
The paper situates these musical developments within broader identity debates in Turkey. Discussions on cultural diversity and ethnic identities, especially since the 1990s, increased the visibility of musical expressions in languages such as Laz, Georgian, and Kurdish. Cultural projects, recordings, and academic research further contributed to the documentation and dissemination of Black Sea musical traditions.
The study argues that the growing popularity of Black Sea music reflects a complex interaction between migration, identity discourses, popular culture, and the music market. While these processes have broadened the circulation of regional musical traditions, they have also reshaped their meanings and functions within contemporary Turkish music culture.
*The Sixth International Conference-Competition for Students in Musicology, Tbilisi, Georgia, 2015
Özge Ç. Denizci & Volkan Çağlayan
Alan Merriam’s anthropological research method proposes three analytical approaches to the study of music. The first is the conceptualization of music, which focuses on the basic principles of music as determined by its social functions and aims to understand music within its social context. The second is behavior in relation to music, which seeks to analyze the relationship between musical behavior, social context, and culture. In this approach, audiovisual documentation such as video recordings of rituals becomes particularly important, as they provide insight into the interaction between music and social practices. The third approach is the analysis of musical sound, which includes the examination of sound structures, performance practices, musical behavior, and sonic events.
Although these approaches form a hierarchical structure, the boundaries between them remain flexible depending on the nature of the study. Sound analysis (c) may be relatively central in certain cases; however, its significance often lies in its ability to illuminate cultural context and human behavior (b). Likewise, the conceptualization of music (a) ultimately derives from attempts to understand music within its broader social and functional context.
Within this methodological framework, Anatolian Pop can be considered as a musical genre that emerged during the revival of folkloric music in Turkey in the 1970s, paralleling similar movements in the Western world during the 1960s. The genre represents a fusion of traditional folk music with pop and rock elements and continues to attract audiences today. Early examples were largely produced by urban musicians, particularly in Istanbul, who turned toward traditional sources as part of an occidentalist cultural orientation.
Later developments of the genre incorporated stronger traditional elements that also influenced the broader Turkish rock scene. Because of these cultural dynamics, a strictly linear historical narrative has limited explanatory value when studying Anatolian Pop. Similarly, attempts to analyze the genre solely through musical structure—such as measuring the proportional presence of different stylistic elements—provide only limited insight into its broader significance. Instead, Anatolian Pop may be more effectively understood through analytical approaches that emphasize its relationship with social context, identity formation, and cultural dynamics rather than through conventional genre analysis alone.
*1st Conference in Ethnomusicology and Anthropology of Music. Methods, Approaches and Perspectives for the Study of Music. Universitat Autonoma de Barcelona/Sala de Graus. Barcelona, Catolonia, Spain, 2015.