Özet:

After the appearance of Turkey as a cultural response to modernization, it has been the subject of formal prohibition and embargo as Arabic, elitist and exclusive attitudes, which have been long ignored or translated as the music of corruption and foreignization. But the Arabic phenomenon, which has shown a mass spread with the help of its social dynamics, has been increasingly added to the city’s cultural codes; moreover, it has evolved into a dominant popular culture subject by breaking down and re-producing these codes. It is possible to build the basic theoretical ground of exclusive approaches to the car with the conservative-elithic ecol to the tradition of Frankfurt School. But the outstanding approaches that meet these two traditions in the opposite of popular culture, which seem to be unlikely to agree, have created an intellectual vassat that makes it impossible to make healthy solutions to the Arabic phenomenon in Turkey. Some of the brethren who followed the tradition of British Cultural Studies to break this testament have moved the positive calls that this tradition attributes to popular culture to the work they have developed to understand and transform it. In this study, the various approaches to the "arabesk" phenomenon, which is one of the various cultural manifestations of the tensive unity between modernization and tradition and Turkey's own modernization stimulus, are discussed around the theoretical differences mentioned. Referred to the periodic transformations of the Arabic fury that began in the 1960s, it focuses on the story that Arabic music completed by dressing out of its organic qualities and opposite meanings during its journey from the peripheral to the center.