A review of female composers in hanende in traditional Turkish Music

Women are an important entity that has an active role in society and is active in produc- tion relations. Women have been the pioneers, creators, supporters, sources of inspira- tion and collectors of artistic expression for centuries, and have made positive contribu- tions to the field by taking part in artistic activities themselves. Although they are rest- ricted due to some social and patriarchal reasons in Turkish art, especially in music, the number of our female artists who are both soloists and composers is quite high. Especi- ally, depending on the innovation movements that took place after the proclamation of the republic, they had wider opportunities with the rights granted to them within the institutional reforms, they proved themselves with the education, composition and per- formance studies of the art of music, gave their artistic products and paved the way for the next generations. This work; It is the first research on female composers in the hou- sehold. As a result of the resources reached, the subject of Female Composers in Ha- nende was discussed, and the adventures of female composers in Hanende that started in Turkish Music, the periods they lived, their identities, their works and performances were investigated. The study is limited to "Women Composers in House" and is a desc- riptive, qualitative and quantitative research based on the scanning model in terms of its general framework, purpose and method. In the study, it is seen that the number of female composers in the household before the republic was low and limited to only 4 pieces. It was determined that there was a signi- ficant increase in this number after the Republic, 926 compositions of 25 Hanende Female Composers were found, and they generally used the song form in their works. With 297 pieces, Mediha Şen Sancakoğlu is the Hanende Female Composer who cont- ributed the most to the Turkish Music repertoire, Hanende Nesibe Hanım was the first woman to sing on a stone record, Afife Tanyeri was the first woman to use the march form, Semahat Özdenses in Dilkeşhaveran mode It is among the results that she is the first woman to use the song form. The lack of resources and information about "Hanen- de Female Composers", which brings significant richness to Turkish Music with both their compositions and performances, is among the other important results.