Bir Dikotomi Sarmalında Geleneksel Müziğin Yüz Yıllık Temsilcisi: Cumhuriyet Dönemi Müzik Politikalarında Âşık Veysel.

With the innovation movements on music and institutions in the 19th century, the Alaturka-Alafranga distinctions have become evident in Turkish music. This has caused dilemmas, debates and disputes in the field of music. Classical music, Turkish music, Enderun music, so-called art music, the city-centered style of music, which is transmitted between generations through the meshk method, has caused it to be considered as a museum and archaeological material. With the establishment of the Republic, the modernization movement also made itself felt in music policies, and efforts to create new-contemporary Turkish music based on Western music began, and the understanding of harmonizing local musical elements according to Western music procedures was born. Although folk music is not targeted, this approach and policies have enabled urban music intellectuals to turn to the public; folk music has started to be “discovered” by urban intellectuals. Âşık Veysel is one of the first of this period. Âşık Veysel; he came to the fore with his life, sensitive functioning style, understanding of the republic and revolutions, style of using Turkish, and became an icon during and after his period. The task of narrating the revolutions of the state was given to the poet through public houses, associations, concerts, tours and village institutes. Although the state's approach to music in the multiparty period was non-political, it is seen that the expansion of cultural industries in this period continued the role of the lover in music with the tools of the period. This study aims to identify the aspects of Âşık Veysel that overlap and do not overlap with cultural policies, his task in transferring traditional Turkish music to the twenty-first century, his position in today's understanding of music and official approaches. In this direction, the effects of modernization approaches in music on the tradition of minstrelsy and folk music, the consequences of policies, the discussion and evaluation of their reflections on today's music will be the main point of the study. In the study, first of all, the literature on music policies was scanned and read. Then, the evolution process of traditional music was tried to be determined using the content analysis technique. As a result, it can be seen that the traditional music-contemporary music dichotomy was achieved in the case of Âşık Veysel, although not with the planned goals and methods of the policies of the period. [ABSTRACT FROM AUTHOR]