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Bienalizasyon kapsamında Sinop, Çanakkale ve Mardin bienalleri
Since 1987, Turkey became an important figure in the international art scene due to the organization of the Istanbul Biennale. Other cities like Sinop, Çanakkale, and Mardin also organized their own biennials, however, there is a lack of studies conducted concerning those biennials. This study aims to present a useful source of information about the biennials of Sinop, Çanakkale, and Mardin while discussing them in the larger context of biennalization. To accomplish this goal, a series of interviews were made with the founders and organizers of those biennials. In the light of these interviews, it is evident that the biennials of Sinop, Çanakkale, and Mardin form a more efficient relationship with their locality and they may be considered as qualitatively more successful examples when compared with the large-scale biennials like the Istanbul Biennale. Furthermore, this discussion also stresses the need for questioning the dichotomy between "central" and "peripheral" biennials while presenting the need for a new understanding.
Kriz sanatı: I. ve II. Dünya Savaşı sırasında Britanya'daki sanat sahnesi ve 1960'a kadar olan süreçteki savaş sonrası sanata etkileri
Enduring and involving crises that humanity has encountered through generations has always been a triggering and inevitable effect on art scene over the world. Significantly, regarding two major wars WWI and WWII, twentieth century became a nest of extraordinary changes since it did not just move the international capital of arts from Paris to New York City as a result of two wars, but also pushed some major artists to focus on the War scenes and has affected the artists in the Post-War in perspective, criticism, and practice. As a major actor in Europe, Britain and its government interfered by developing the war art schemes, establishing new Committees, Councils, organizations and museums while World War I was still going on, and forming a new committees to create a well-organized collection and exhibiting the works of many artists in Britain. WWI, WWII and The Post War art scene in Britain also had a major impact on today's Contemporary Art, since it has led the establishment of many organizations and exhibitions which represents the artists' reaction on two catastrophic wars by bringing richness to creativity, perspective with educating the society, hence become the roots of today's contemporary art. Thus, this thesis aims to focus on the shifts and establishments in the art scene, regarding the committees, councils, artists and the audience's needs and the role of the Government during the Post-War until 1960 in Britain during one of the roughest eras throughout the history in 20th century and to indicate how crises would enrich imagination and as a result of a social conflict.
Edirne duvar resimleri
According to many theorists, the tradition of Ottoman wall paintings, as a follow-up of the Turkish book painting (miniature) tradition, is sequentially a series of stylistic development. The traditional practice had commenced in the Ottoman Period Turkish Art with a naïve technique where bi-coloured or tinted works were used on the ceiling moulding (coving). In terms of this approach, Ottoman wall paintings have become the hallmark of the Westernization Period (We call this period the Revivification Period), along with the imitations and interpretations of Rococo Decoration and Baroque Architecture, which generally matured with various imaginations and certain urban landscapes on top of built-in wardrobe wall surfaces. Finally, the Ottoman wall painting tradition has spread acceleratedly, utilizing some technological inventions, such as photography and contemporaneous trendy colour printing postcards, as replicative forms. In that era, the art of painting, which we are not accustomed to except books, and which was seen as taboo in society in part, has been created by the tolerance, which might find in the privacy and innocence of the dwelling, and hence the meaning of the space has been transformed by being connected to the space itself over an artistic form. With the early examples of the Muradiye of Edirne (mainly known as The Muradiye Mosque), which is included in our study, the roots of the Ottoman Wall Painting tradition were moved back to more archaic history up to the Early Ottoman Period, without ignoring the definitions of "wall painting" revealed by theorists. In this study, exceptional and noteworthy features of the murals located within the boundaries of Edirne city center and examples that can leave new contexts to the sprinkling of the literature on this subject were selected and examined in detail. In addition, a study of the house tradition of Edirne, which is the historical address of the change in the Turkish House typology, which creates new surface areas on the walls in making the wall paintings visible in the households, has been revealed, too. Thus, the study was carried out with the function and consciousness of creating both a wealth of literature and a new direction/inspiration for future studies.
Türkiye'de özel sanat koleksiyonlarının müzeleşme sürecinde 2010 yılı sonrası yeni oluşumlar
This Master's dissertation, titled "New Inclinations in the Museumification Process of Private Museums in Turkey After 2010" comprises the development of art collectorship in Turkey through the concept of collections and in comparison with the Western world, the transformation of these art collections into private museums in the 2000s, and the new inclinations regarding the location choices of private museums after 2010. Ever since the prehistoric period, at times to meet their biological needs and at times to satiate their religious instincts, humans have researched, discovered, and collected, evolving over the centuries to do it consciously and consistently, becoming collectors, and later, with rational categorization and institutionalization, secularizing their collections, thus establishing museums. Becoming wealthier through commerce, While collectorship developed in Europe starting with the Renaissance in the 15th century, leading to collections becoming public in the 17th century and the start of modern museumification in the century that followed, it was the bourgeoisie that birthed European collectorship. The absence of a noble class outside the Sultan and his family that could correspond to the bourgeoisie which birthed European collectorship, the upper-classes lacking the same amount of privilege and influence as their western counterparts, as well as the Empire's somewhat frequent financial and societal crises delayed the emergence of collectors in the Ottoman Empire by about 2 centuries, even though there were similarities to European collections regarding the aggregation methods and logic. Museumification was similarly delayed by two centuries, emerging after the 19th century. The foundations of art collectorship lay with the autonomy and the commodification of art, which created its own market. Thus, art collectorship and the art market always progress simultaneously. In the Republic of Turkey, founded by Atatürk, the early period national culture policies made the state the primary patron of arts. However, liberal economic policies starting in the 1980s allowed private capital to take over from the state, launching a period where artworks and collectorship increased. Attempting to integrate itself with the world as a result of the globalization policies of the 1990s, the 2000s for the Turkish art market, dominated by private capital, coincide with a highly dynamic period when the recently growing population of art collectors founded private museums in İstanbul by which they could receive exposure and recognition. This period saw the emergence of culture and arts events and activities in the periphery. After 2010 this was followed by collectors who wished to bring their collections to the lands where they were born and dreamt about showing revealing the existence of a culture outside the center, who then established museums towards that goal. As part of the research, we began with the roots of collectorship, working toward the museumification of Western art collections from Europe to the US. Here, we pivot to the Ottoman Empire, making our way through to the Republic of Turkey with its political, financial, and social background, over which we not only take a two thousand five hundred year long journey through the development of the art market and collectorship, but also examine private museums founded after 2010 in Anatolia to create bonds and connections with their cities in addition to making these into popular cultural stops, thus inspiring new ones to launch, therefore occupying an important spot in art history. We aim to contribute to future research with this examination. Keywords: Collection, Collecting, Collectorship, Art Market, Private Museums
Ahmet Ertegün'ün sanat yöneticiliği perspektifi: Atlantic Records
This study aims to examine the art management perspective of Ahmet Ertegün through Atlantic Records. This study is significant in terms of revealing the effects of a music company director's life and personal characteristics on the music company he has established and the place of the said company in the music industry. The research was planned and conducted as a case study in a qualitative design. Case studies are based on "how" and "why" questions and allow the researcher to deeply examine a phenomenon or event that he cannot control. This study sought an answer to the question of "what is going on?" by adopting an interpretative attitude. The collected data were analyzed by content analysis. The examining process was carried out by the researcher. Jazz and blues music are the genres of music, in which black people in America express themselves. A new type of music, Rock and Roll, has emerged with the influence of jazz music, which is supported in order to minimize the conflicts arising from racism in America. In the music world, which has turned into an industry with the developing technology, small independent record companies operated in the beginning. Atlantic Records, one of these independent companies, was founded in during 1930-1980s what is called a classic in the music industry. It is thought that Ahmet Ertegün's perspective has a crucial influence on the survival of Atlantic Records until today, which was founded in 1947 by Ahmet Ertegün and his partners. This study investigates Ahmet Ertegün's family, education and interests, which are effective in the formation of his personality. It aims to reveal the influence of Ahmet Ertegün on Atlantic Records. Key Words: Ahmet Ertegün, Atlantic Records, Music Industry, Arts Management
İstanbul'da oyunculuk sanatının güncel etik algısı
In this master's thesis titled "The Current Perception of The Ethics of The Art of Acting in Istanbul" various studies have been carried out to determine the relationship between the art of acting and the concept of ethics. The information obtained as a result of the research on the historical development of the Art of Acting from Ancient Greece to the present is given. As a result of the interviews with the actors living in Istanbul, using the semi-structured interview method and the literature review, the relationship between the art of acting and the concept of ethics was examined. In the interviews, the players were grouped according to their age, education and working conditions. In this thesis, it is aimed to reveal the relationship between an actor's perspective on himself, his performance, principles, profession and colleagues, in short, his art, and "ethical perception". Despite the fact that the actors come from different backgrounds, it has been concluded that their sense of responsibility regarding the art of acting and the work discipline they have developed in the stage and theater, where they practice their profession, as well as their work and financial income, as well as a great "desire" to do their profession, provide motivation. While emphasizing the importance of education in the art of acting, it has been revealed that the master-apprentice relationship is also important and an educational structure. The aim of the thesis has been determined as the historical process of the acting art and the professional ethical attitude of the actor by evaluating the ethical perception in acting through the actors living in Istanbul today. The bonds that the actors develop with their colleagues and other employees of the sector, even with the audience while performing their profession, and the rules that determine the boundaries of the area they create while creating themselves are examined. It has also been found that the habits that vary according to the individuals bend the rules with the actions of the players resulting from their interactions with each other. While these rules create the ethical perceptions of the players performing the Art of Acting, it has been seen that the ethical issue as a profession is accepted by the players who step into the profession as a result of the master-apprentice relationship. While the view that education is technically beneficial gained weight, the importance of the master-apprentice relationship was emphasized. In the context of ethics and professional ethics aimed at the beginning of the study, the ethical perception of the players was investigated by emphasizing the importance of professional responsibility, and the above results were reached considering that it would contribute to the examination of the studies to be done in the field. Keywords: Acting Art, Ethics, Professional Ethics, Master-Apprentice
Sanat fonlarının yatırım stratejileri
This thesis study examines the conditions that laid the groundwork for art funds in particular, their formation and development processes, and subsequently analyses the properties of art funds as a type of investment fund, and their structure and diversity, ultimately closely examining their investment strategies in detail through examples. Although artworks have been known to be valuable for centuries, the classification and acceptance of artworks as an asset class is a newer phenomenon that occurred in the last century. The operating mechanisms unique to the art markets evolved within the limits of the potential provided by the developing technology as financialization began to dominate all fields. This evolution brought the worlds of art and finance together in new practices. As changing economic conditions impacted different geographic regions simultaneously, creating fluctuations in markets, investors sought safe investments. Emerging at this moment, these new art market practices became an anchor for investors, presenting them attractive opportunities. Building upon the structures of hedge and private equity funds, art funds are portfolios put together to create profit through the acquisition of artworks. Largely and increasingly in developing economies, these funds provide opportunities for High-Net-Worth and Ultra-High-Net-Worth investors who want to invest in art as either as a major investment or a diversification factor in their portfolios. This study aims to examine the emergence and developmental stages of art funds under the influence of capitalism and globalization, as well as the art markets' unique dynamics and their transformation into new forms in light of the financial markets' simultaneous evolution with technology. Thus, this study will underline the details of the operating mechanisms of art funds and their investment strategies to contribute to future studies in the literature.
İstanbul Bienallerinde video sanatının sergilenme stratejileri
The master's thesis titled "Exhibition Strategies of Video Works at Istanbul Biennials" includes the technological, social, and artistic events that pave the way for the use of video as an artistic expression, as well as the development of video art in the world and in Turkey, the determining factors in the exhibition of video art and the approaches used in the exhibition of video art at Istanbul Biennials. After the discovery of photography and cinema as a result of humanity's desire to record images, the introduction of magnetic image recording tools in the 1950s provided a unique structure that could affect the production processes of artists and while the use of television became widespread in those years, the development of video technology, which was a recording and display tool developed for use in television broadcasting, also showed parallelism with television. Video art was used by artists to criticize television broadcasting at a time when the effects of television became widespread, and later on, artists developed new strategies using the possibilities of video from different disciplines and perspectives. Since 1960, artists in different countries, especially in Europe, have started to use video as a means of expression and video has spread rapidly. In Turkey, the spread of video art coincided with the 1990s, and the interest of artists in video art increased in the 2000s. On the other hand, the elements to be considered in the exhibition of video art differed from the exhibition of traditional artworks due to the time and technology-based and dynamic nature of the video. In this respect, in addition to formal concerns, hardware and technical possibilities were decisive in the exhibition of video art, especially until the introduction of the first digital cameras in the mid-1990s. Although the use of imaging devices in displaying video art mostly depends on technological developments, factors such as the conceptual and formal relationship with the tool used in the demonstration of the work were also effective in determining the devices to be used. The unique space and image relations of the video have transformed the normative viewing conditions in the modernist white cube gallery space. Consequently, art institutions have started to create special spaces, which will be known as the black cube in the future, which are created by adhering to the codes and traditions of cinema. The examples of video art were exhibited for the first time at the 1992 - 3rd Istanbul Biennial, which aim to show the trends of contemporary art in Istanbul and open a space for discussions in this field. In this context, within the scope of the study, starting from the origins of video art and after the use of video as an artistic expression, different forms of expression have been revealed in order to provide a basis for the interpretation of the approaches used in displaying video art in the editions held until the 17th Istanbul Biennial; the development of video art in the historical process in the world and in Turkey has been examined through national and international events; the determining factors in the exhibition of video art are discussed. In the last part of the study, video works in the biennials were detected with the help of the Istanbul Biennial catalogs and guides, as well as the news in the printed and online media, and the approaches used in the exhibition were presented through examples.
İstanbul Bienali ve Manifesta Bienali'nde kimlik ve benlik kavramının analizi
Art, throughout history, has been a way of expression, in which people prefer to explain themselves, understand the world, and explain societies to each other. This way of expression, took shape on different notions, concepts, and phenomena, depending on the period. Notions of identity and selfness are the concepts that artists are working on. These notions, socially generate individuals and society, and frame them, also have been tried to interpret by approaching the hands of different disciplines of social sciences. In this work; identity and selfless which are some of the important notions of art, artist, and production of art, have been approached with the help of the fields of sociology, philosophy, and psychology. In art, the dual perspective of identity and selfness, which create each other, has been tried to be traced. Examination, that has been made, is limited to "İstanbul Biennial" and "Manifesta: The European Nomadic Biennial" which emphasizes the concepts of identity and selfness and, on the other hand, it is composed of artworks analysis that is associated with concepts of identity and selfness, while researching for the structure of biennials.
2000'ler sonrası küresel sanat piyasası ve sanat ekonomisi ve Türkiye
The term "market" has ancient origins, evolving from a physical gathering place for trade to an abstract concept representing the exchange of goods and services. The sociology of art has evolved, Pierre Bourdieu shaping a distinct path of research. Bourdieu's (1984) emphasis on taste judgments, cultural power, and cultural capital as tools for social domination provides a foundation for understanding the dynamics of the art market. Art has evolved into an alternative investment for corporate entities, wealth managers, banks, and individuals, driven by economic developments since the 1980s. The privatization of culture in the 1980s motivated corporations to build significant art collections, blurring the lines between art and money. Figures like David Rockefeller played a pivotal role in shaping corporate involvement in the arts. The period from 1940 to 1986 marked significant milestones in the art market with record-breaking sales, and especially the sales of Van Gogh's paintings in 1987. Companies, including multinational corporations, invest in the arts to enhance their social prominence and influence societal dynamics, as demonstrated by Wu (2003). Baumol and Bowen's 1966 work marked a significant milestone in the study of the arts sector within contemporary cultural economics, shifting the focus from traditional sociological, historical, and aesthetic perspectives to a rigorous economic analysis of the arts sector's economic impact. The art market is multifaceted, encompassing both economic transactions and the transitive nature of art as a dynamic entity. This study primarily focuses on offline sales through galleries and art auctions to determine the genuine value of artworks. This research takes a unique approach to exploring the complexities of the global art market by centering its exploration on Turkey. Drawing inspiration from Bourdieu's theoretical framework, the study untertakes an epistemological journey into global art market. Through this perspective, it seeks to not only uncover the nature of the art economy within Turkey but also trace its historical evolution, charting the challenges it has encountered and the adaptations it has made over time. By doing so, this research aims to reveal Turkey's pivotal role within the broader global art landscape. In essence, it argues that by examining the art market in Turkey, we can gain valuable insights into the dynamics, trends, and forces at play in the wider global art economy, effectively painting a more comprehensive picture of this intricate ecosystem. Keywords: Art market, Contemporary art, Cultural Economy, German Art
The notion and use of space in the curatorial works of Başak Şenova
Mekân veya yer, çeşitli yaklaşımlarca farklı ele alınmakla beraber geniş bir çerçeve ile 'insanı çevreden belli bir ölçüde ayıran ve içinde eylemlerini sürdürmesine elverişli olan boşluk' ve 'sınırları gözlemci tarafından algılanabilen uzay parçası' olarak tanımlanabilir. Bu tez çalışmasında insanın mekân algısının küratörlükte nasıl bir kavram haline geldiği ve tarih boyunca sanat eserlerinin korunmasından sunulmasına kadar mekân kullanımının hangi evrelerden geçtiği ele alınmaktadır. Çalışmanın ilk bölümünde küratörlükte mekân kullanımı, mekân kavramı ve mekân tarihine değinilmiş, daha sonra sergiler için tarihte önemli bir kırılma noktası olan 'Beyaz Küp' öncesi ve sonrasındaki sergi mekânları incelenmiş ve mekân algısını etkileyen faktörler işlenmiştir. Halka açık sergi alanlarının 18. yüzyıldan günümüze kadar geçirdiği salondan Beyaz Küp'e ve açık alanlara kadar uzanan değişimi ve 19. yüzyıl'ın baskın sergi biçimi olan salon sergilerinde mekân kullanımına değinilmiştir. Çalışmanın ikinci bölümünde, bu tez çalışmasının hazırlanmasına esin kaynağı olan Başak Şenova'nın mekânı tasarlayışı ve mekân algısının ön planda olduğu işleri incelenmiştir. Başak Şenova bir küratör ve tasarımcıdır. Tasarımcı kimliğinin en baskın olduğu sergilerden örnekler verilerek izleyicinin mekân algısını nasıl tasarladığına değinilmiştir.
Şehirden taşraya yeni Türk sinemasında toplumsal hareketlilik
This thesis deals with the reflection of the concept of social mobility from the city to the province in the movies produced between the years 1990 and 2000, when the New Turkish Cinema came to the fore in Turkey. Before 1990, the mobility from the countryside to the city was on the contrary, towards the countryside again. For this reason, the homeland of the New Turkish Cinema is the countryside. Especially after 1990, the increasing importance of the countryside in cinema means a mood for the characters rather than being a place. In a perspective stretching from the end of the 90s to the 2000s, the countryside is sometimes defined as a place to live in and sometimes to return to. After the transition from the city to the countryside was explained in the cinema during the Yeşilçam period, the return to the countryside in the New Turkish Cinema was tried to be explained through the films "Kış Uykusu", "Yumurta", "Ana Yurdu" and "Kelebekler". The main reason for limiting the study to these four films is that these films, which were shot in different periods and by different directors, can unite on common ground thematically. The plots of these four films unite under the themes of returning to the countryside as a form of reconstruction, returning to the countryside after trauma, returning to the countryside as an intellectual crisis, and returning to the countryside in the pursuit of lost time.
Sanat, kültür ve din arasındaki bağ: Amerikan sanatında Neopaganizm
Paganism has been known as the Oldest-Rooted religion dating back to Antiquity. It has always been the huge role in the every following period of the world civilizations containing the centuries. In addition to being a religion, Paganism has an intense cultural and artistic diversity being directly visible inside the Societies' daily routines. Pagan diversity especially based on Art style, has shown the differences according to the each century's reforms. The written sources directly show that Paganism has had the unique tone, that easily matches with the every epoch of nations. In this process, it should not be overlooked that Paganism continued to develop by incorporating innovations within itself, and emerged as Neo-Paganism, that is being defined as adapting PreChristian population's nature shipping and Polytheistic pagan religions into the Modern Societies, in the Modern period. Especially, After 1960's Neo-Paganism began to show itself in the United States of America with the huge background touching to the unique Artistic values, Cultural events, centered Religion itself. For this reason, the research would examine the socio-cultural dimension of Neopaganism in detail, by touching on the history of Paganism in detail. Furthermore, In American Art, this thesis presents the different development area, that is separated from the other projects having the same focus by giving examples of how the belief and culture of Neopaganism are processed and reflected in American art; moreover, briefly reflecting the evolution process of the concept and especially the stages of Paganism's development towards the Modern world. In more detail, This thesis provides the wide-spread development of Paganism in the each century by focusing on the deep historical researches, that have begun from 4th Century and end in Contemporary era, Although the main focus of the thesis is Neopaganism in America and American art, the thesis has become a long-term document that includes the entire Pagan process of Europe, European Pagan Art, America and American Neopagan Art. Apart from the Artistic context, it provides a broad frame from the Cultural, Religious and Historical perspectives. Key Words: Neopaganism, Paganism, American Art, Neopagan Art
Contributions of organizations in Istanbul Unkapani to popular music between 1960-2000
This study is important in terms of contextualizing the scattered dissident voices that have developed in the Turkish geography, regardless of genre, within a broad perspective. It offers an uncommon combination of texts on music, art, social sciences, etc. Most of the studies on music to date have not touched upon the Unkapanı record stores bazaar. In this study, Unkapanı İMÇ (Istanbul Manifaturacılar Çarşısı)'s organizations from its first establishment until the time it lost its popularity, communication tools such as radio, cinema, TV used in the spread of popular music, the formation of Unkapanı, the rise of music companies are discussed. Music is one of the most indispensable elements of human life, which is thought to exist with the existence of human beings. In this process, the art of music has become not only an interpreter of our feelings and emotions, but also an effective structure that can affect almost every aspect of our lives. In today's world, music has become not only a cultural and artistic element but also an important industrial product. Popular music, which has a very large place in today's social life and is one of the most important elements of popular culture, has become one of the most important sources of the music industry in our country as it is all over the world.
Anestezi uygulanan hastalarda müziğin etkisini konu alan araştırmaların incelenmesi
Bir iletişim aracı olan müziğin insanlığın başlangıcına kadar uzanan köklü geçmişi onu çok önemli kılmaktadır. Müziğin sadece etkili bir iletişim aracı olmakla kalmadığı aynı zamanda tıbba yardımcı bir şifa aracı olduğu yüzyıllardır gözlemlenmiş ve uygulamalar ile ortaya konulmuştur. Bu araştırmanın amacı çerçevesinde "Müziğin anestezi uygulanan bireylere etkileri nelerdir?" problemi ve buna bağlı beş alt probleme cevap aranmaya çalışılmıştır. Bu bağlamda DergiPark hizmeti kapsamında yer alan TÜBİTAK, ULAKBİM ve PubMed veri tabanları üzerinde yur içi ve yurtdışı çalışmalar incelenerek yazın taraması yapılmıştır. Betimsel içerik analizi yöntemi kullanılarak yapılan bu çalışmada, tarama sonucunda 140 adet çeşitli başlıklarda tez, bildiri, makale, kitap ve bilimsel toplantı sunuları bulunmuş ve bunlar içerisinden amaca hizmet eden 86 çalışma araştırmaya dahil edilmiştir. Ayrıca müziğin anestezi uygulanan hastalara etkilerini araştıran çalışmaların derinlemesine incelenmesi ve farklı başlıklardaki çalışmaların ortak veya zıt bulgularının tek bir çatı altında birleştirilip ortaya konulmasını amaçlayan çalışmada bu konuda yapılmış olan araştırmaların irdelenmesi yoluyla alanda yapılan araştırmalara dikkat çekilmesi ve konu ile ilgili temel bir bakış açısı sunulması hedeflenmiştir. Sonuç olarak ülkemizin müziğin şifa yönüyle daha etkin bir şekilde ilgilenmesi gerektiği, müziğin tüm bedeni olumlu etkilediği, hastanın yaşam bulgularına olumlu etki gösterdiği, verilen anestezik ilaç dozunun düşürülmesinde etkin rol oynadığı, genel ve lokal anestezide olumlu etkilerinin olduğu, az sayıda çalışmada müziğin olumlu ya da olumsuz bir etkisine rastlanamadığı ve bunun sebebinin tek tip müzik dinletilmesi olabileceği, müziğin 0-18 ay çocuklarda anne kalp-atım sesiyle beraber etkili sonuçlar verdiği, hastaların istediği müzik seçildiğinde daha olumlu sonuçların ortaya çıktığı gözlemlenmiştir. Öneriler kısmında ise multidisipliner çalışılması, daha geniş katılımcı sayısı ile deneyler yapılması, tıp camiasının müzik ile şifa sistemi konusunda tutumları üzerine çalışmalar yapılması, bilim ve sanat camiasının ortak çalışması ve "müziğin anestezi uygulanan hastalar üzerinde etkisi" konulu araştırmaların sayıca çoğaltılmasının gerekli olduğu önerilmiştir.