Instrumentalization of maqam components defined as local product from Turkey within the framework of the "World Jazz" image, in the way of marketing and promotion in jazz production

Capitalism, which has established an intense dominance in the global framework, has forced all the channels that can be referred to as the culture industry to integrate into its own system since the time it infiltrated the cultural areas that have evolved and become industries with industrialization. It is seen that capitalism has had as much impact on music as the technology that amplifies and shapes music since at least the first sound recording made in 1878, and this influence has shaped music and created the music industry. The dominant existential dynamics surrounding the music industry—such as the stage, decor, costumes, visual themes, and of course the music and the sensory materials/themes it contains—vary under the leadership of organizational management, finance, accounting, marketing units/business bodies, as in for-profit organizations. Local music, which is seen as the "other" according to "Western" centered societies or cultures, and sometimes even not deigned to be listened to by the society it belongs to, has been turned into a "commodity" or even an "orientalism fetish" object, both on domestic and global platforms, it is presented as products or by means of re-productions. With these presentations, the market strategies followed by for-profit organizations are taken as an example, and it is aimed to increase the number of listeners and audiences—participants in live performances—through both sensory and visual designs or intermediaries. Moreover, the methods of survival in the market are planned through a deep social/psychological observation and analysis; for this reason, supporting sensory elements with visual and symbolic elements; it is even possible for visual elements to play a role by getting ahead of the music from time to time. With these presentations, the market strategies followed by for-profit organizations are taken as an example, and it is aimed to increase the number of listeners and audiences—participants in live performances—through both sensory and visual designs or intermediaries. Moreover, the methods of survival in the market are planned through a deep social/psychological observation and analysis; for this reason, supporting sensory elements with visual and symbolic elements; it is even possible for visual elements to play a role by getting ahead of the music from time to time. In this study, local elements used by musicians/groups when they act with a profit-making organization mentality will be revealed with examples; In addition to the sensory elements, the reasons/sub-texts of the images chosen as mediators will be explained. The items used will be positioned in the context of marketing strategies; It can be seen that these elements, which are discussed, sometimes find a place in more than one strategy. Since the sensory and performative elements are the "World Jazz" meta, the concept of "music as a commodity" is briefly philosophical; compared to the philosophical part, it will be discussed more in terms of the music market; How the products in the music industry find their place as marginalized attractive elements through "appropriate-other" and "orientalism" will also be supported by contemporary examples. The aim of the study is that the music positioned in the music industry and "World jazz/ethno jazz" corresponds to an attractive product in the social context; Although these products are local or hybrid products, they are presented as jazz; to ask which strategies the intended audiences are manipulated and how they are influenced by these strategies; In the light of these questions, the aim is to reveal the results obtained in the context of marketing, music theory and musicology.