Özet:

Traditional music, which was formed around the oral tradition and first met with written culture and then other technology cultures, is seen as one of the most important legacies of the past, due to the attention paid to it since the 20th century. Although it takes place in these processes mainly due to ideological developments such as nationalization and institutionalization, and social developments such as urbanization and globalization, the main point that can be seen as a change for traditional music is the new transmission environments it encounters in these processes.With the establishment of the Republic, Turkish folk music became the object of written culture, first fixed with notation and turned into a sound recording as a result of the possibilities provided by the developing sound recording and broadcasting devices. It is one of the basic postulates of communication sciences about the transfer of culture that knowledge gains new social and institutional appearances, functions and aesthetic forms in each new transmission medium. These transmission media, which are divided into basic parts as oral, written and electronic, not only affect the way of transmission of messages, words and music in social communication, but also diversify the ways of using information and the perceptions of societies towards information. When traditional music is considered in particular, this means that music is first commodified, decontextualized, stripped of its usual institutional uses, and then re-contextualized during its reproduction and gaining new institutional appearances. It is possible to consider all these processes together with the process of transferring folk music to new media environments that started before the establishment of the Republic in Turkey. It is important to consider the parallelism of such a nationalization-culture institutionalization together with its cultural and social aspects, in order to understand the rich media appearance of folk music today and the new appearances of folk music in the social field. The process of mediatization and mediation of folk music in Turkey has progressed from the presentation of large narratives about music to the public (receiver) during the single-channel public broadcasting period, to the dissemination and consumption of smaller artistic elements that can be structurally divided into different media as content in the developing media environments. The artist's life story, art and many other performative elements that can be presented as content in the media continue to exist by changing and transforming according to the structural and social boundaries determined by the media tools. In this study, “Neşet Ertaş” and the story of his art in the media are discussed as an example. Neşet Ertaş is one of the first examples of the “media resource person” generation, who has gained national recognition with his music surpassing face-to-face performance environments quantitatively. Neşet Ertaş in the media has become a part of the identities of the artists who take himself as an example by existing with various narrative elements such as mastery, local attitude, ethnographic identity, life story, threshold, which constitute parts of his musical life rather than a narrative integrity. The purpose of this article, in line with the above narrative, is to examine Neşet Ertaş as a mediatic artist character and to question the relationship between folk music and media through artists who use the views of his life and the meanings of his art.

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