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The transformation of popular music in Türkiye, from vinyl records to digital platforms, took center stage at a panel hosted by the Music Interpreters' Collective Society (MUYORBIR) in Istanbul.
Titled “From 45s to Digital Platforms: Cultural and Industrial Transformation of Popular Music in Türkiye,” the event brought together artists, producers, and industry representatives at Bahcesehir University’s Besiktas campus to examine how listening habits, production models, and artistic value have changed over time.
MUYORBIR President Burhan Sesen said the organization has spent 25 years defending artists’ copyright rights, adding that it now represents more than 3,000 members. He said the union focuses on licensing and aims to distribute revenues fairly among artists.
Artist and MUYORBIR board member Nukhet Duru pointed to Türkiye’s absence from the Eurovision Song Contest since 2012 as a missed opportunity for international visibility.
“Türkiye unfortunately withdrew from Eurovision after 2012. I do not think this was the right decision,” she said.
Duru acknowledged that the contest no longer holds the same cultural weight as in the past and includes certain limitations. Despite this, she argued that Türkiye should return to the platform to present its musical identity to wider audiences.
“We must show Europe that the compositions we produce come from these lands. We have a significant richness of melody,” she said. “But because we cannot arrange and present this richness in a contemporary way, our influence in Europe remains limited.”
She added that revisiting participation conditions could help Türkiye re-enter the competition and strengthen its cultural presence abroad.
MUYORBIR Vice President Bora Oztoprak described a lack of cooperation within the music industry as a structural issue that continues to affect artists and institutions.
“Elements within the music industry do not support each other. This situation has become chronic,” he said.
Oztoprak explained that three main stakeholders hold rights in a musical work: the composer, the performer, and the producer.
While professional unions represent each group, he said they often fail to act collectively when addressing shared challenges, particularly around copyright enforcement and financial sustainability.
Arranger and composer Erdem Kinay said the shift from albums to single releases reflects broader changes in audience behavior and expectations.
“We moved to singles because listening habits have changed,” he said. “For us, the stories behind records, cassettes, and CDs mattered. The new generation is no longer interested in those stories.”
Kinay noted that listeners now expect new music every few months, accelerating both production and consumption cycles. He said artists increasingly release songs shortly after creating them, leaving little time for long-form projects such as albums.
He also raised concerns about artificial intelligence and the speed of digital circulation.
“There is a very fast circulation process. Everyone becomes famous quickly and is forgotten at the same speed,” he said. “We are listening to songs where it is unclear who wrote them. AI-generated works have already pushed real artists out of the picture.”
Producer Ahmet Celenk said the shift from physical formats to digital distribution has made music production more accessible, despite earlier economic barriers.
“When I founded my company in 2002, it was difficult to produce physical formats like cassettes and CDs due to financial constraints,” he said.
Celenk argued that digitalization has opened new opportunities for producers and helped revive parts of Türkiye’s music market, including the historic Unkapani district.
“If digitalization had not happened, Unkapani would not be able to sell Baris Manco today. Now it can,” he said.
He added that while becoming an artist remains challenging, the overall direction of the music industry is positive, provided that stakeholders adapt to the changing system.
The panel concluded with a question-and-answer session, closing a discussion that reflected both the opportunities and tensions shaping Türkiye’s evolving music landscape.
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