Woman in rock music in the example of Özlem Tekin: gender, ethnicity, hegemony

This work whose aim is to understand popular music from the view of gender, focuses on a woman rock star?s experiences in the male-dominant rock music. Additionally, it accepts gender as the reason of identity. As in the all views of public area, the industry of male-dominant popular music tries to reveal the approach of woman popular music artists and additionally, contrary to this situation, Özlem Tekin?s relation with the industry of popular music in the Özlem Tekin?s example. It carries this two-way relationship as the hegemony struggle to the center. First part, is in the tendency to see the gender which is considered as the identity axis and so, the womanhood as this work?s focus. In addition to, feminist, anthropological, cultural studies; try to construct on instutional basement after revising the approaches of woman works in the expression culture and music. The second part, focuses on the field of work which is carried out ethnographical observation and conversation technicque and so Özlem Tekin and her musical identity. Firstly, by revealing how the heavy metal and in wider meaning the rock music which is grown up in a culture with the gender-datum and also musical low category with the gender, effects Özlem Tekin?s personal identity and habitus, this identity and this habitus? effects on her music and musician are cleared up. Revising Özlem Tekin?s past as the musician her relationship with the music industry and reconstruction appearences which appear as the result of this relationship are based on the Gramsci?s hegemony concept. As the pioneer target of the relationship with the music industry, her albums and her live performances are revised attentively and how the spectator mass consume her is focused on. The third part comprises of Özlem Tekin?s musical analyses which her music in her albums and her live performances try to take over, the relationship between the traditional contain musicological text analyse and the popular music. In this part, the sample songs revised shows her music view of gender order and how theorical arguments reflect in the end pointing the appearances of her identity. This work tries to present the full of arguments structure of popular music as a cultural field and how profound the gender is settled down in this ful of arguments field and relatively it has been built benefiting from the ideas about popular music is such a precious phenomen that it will be researched in academic field displaying an interdisciplinary approach.