Abstract:

After the 1980s, with the observation of postmodernism in Turkey, with all the dynamics of society, the Turkish music and the Kemençe taxis, which are our subject, have also changed. As of this period, beyond the purpose of showing the position in the playing taxis, the use of official and non-governmental voices together, the approaches in which the symmetry is denied, the codes are mixed, the quotes are subject to. The source of these approaches from postmodernism is the most important representative of the Kamence icrans, Ihsan Özgen, which is our subject. In this study, the postmodern and musical analysis of the "Opening Taksimi" by which Ihsan Özgen has spoken with the cranberry is aimed at identifying postmodern expressions in the cranberry icrans. Working in this direction; postmodern approaches in the cement taxi have been evaluated under the titles of postmodern approaches in Ihsan Özgen's Openig Taksim. As a result, Ihsan Özgen has found that the Opening Taksimi can be viewed to the tradition from this day, that the limitations have disappeared, that the codes are mixed, that the symmetry is denied, and that the musical attitudes we can evaluate in the postmodern perspective.

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