The effects of gazino culture on classical Turkish music

Classical Turkish Music has passed through different periods from past to present and has always developed with its rich content. The period from the 1950s to the present day has been an important period in which both the traditional structure of Classical Turkish Music has continued and a great transformation has been experienced in the opposite dimension. The developments brought about by this transformation have both affected the dynamics of this genre and caused its performance to shift to different venues. At this point, the casinos, which are among the venues where Turkish music was performed, were the places where this genre was frequently performed by the musicians of that period. It is very important to examine this period through literature studies, to conduct an oral history study by learning from the eyes of musicians who lived through the period, and to shed light on this period through work analysis, in order to evaluate that period and to understand the impact of the casino period on Classical Turkish Music. In this context, this research aims to evaluate the positive or negative aspects of the Effects of Casino Culture on Classical Turkish Music. In the research, the changes and transformations in Classical Turkish Music in the historical process will be discussed and how the casino culture affected this genre in all its aspects will be examined. In addition, in this study, it is aimed to see the differences in the works of Classical Turkish Music performed in the casino period with the form analysis of the works, which are among the data obtained within the scope of the interviews. In the first process of the research, a source study was conducted and the written and digital literature on the subject was researched. Subsequently, the periods of Classical Turkish Music in the historical process and the developments in the period of casinos were researched in detail, the example of Istanbul City Fasıl Casino, which still exists today, was discussed in order to comprehend today's casino practices, and in order to learn and evaluate the casino period in recent history in detail, interviews were conducted with important artists who took part in casinos after the 1950s within the scope of oral history study. In the last stage, samples of the works that were learned from the interviews with the musicians and performed by the musicians during the casino period were selected and form analyses of these works were made, and both the interviews and the works were interpreted in terms of the effects of the casino culture on Classical Turkish Music. Qualitative data in the research were collected through source research. The research is descriptive in nature since the situation will be determined within the scope of the Effects of Casino Culture on Classical Turkish Music. This research was designed in survey model. The data obtained in the research were analyzed and interpreted in terms of the Effects of Casino Culture on Classical Turkish Music. Comments based on the analysis are reflected in the findings and interpretation section of the study. As a result of the research, it was concluded that there were deficiencies in the transfer of Classical Turkish Music, that the casino culture shaped the musical understanding of the period in the socio-cultural context, that the venues shaped the audience and entertainment culture of the period with their visuality, food and beverage culture, soloist preferences, stage layout and artist staff, that artists frequently preferred examples of classical works between the 1950s and 1980s, but later entertainment, It has been concluded that factors such as commercial concerns and the market have a negative impact on work preferences, that the mixed music understanding in casino venues has narrowed the Classical Turkish Music repertoire to a certain extent, and that the market factor, the entertainment factor and the atmosphere of the casino have reduced the repertoire in makam preferences. In addition, in the historical process, the casino culture had a positive effect on the performances of Classical Turkish Music, but as of the 1970s, especially the vocal performances changed, and the casino culture negatively affected the simplification process of Classical Turkish Music within the entertainment industry, Another conclusion reached is that these venues served as a school in terms of both theoretical and stage performance through the instrumental and vocal performers who were present in the casinos from the 1950s to the 1980s, and that these venues set a positive example by endearing Classical Turkish Music to the public, establishing the etiquette of listening to music and preserving the vitality of this genre in these venues. Keywords: Classical Turkish Music, Casino, Culture