Abstract
Minstrel and Traveller: A Sociological Portrait of Barış Manço
Music consists not only of a combination of sounds and notes, instruments. There are various elements that bring music to the common denominator with man. Memories, feelings, the past, the future are some of them. Music ise a reminder for man. Sociological and historical realities and continuities activated play in the evocative emphasis of music. Therefore, any sound that is played in a person’s ear goes beyond its musical meaning. Barış Manço is also one of the artists who has managed to go beyond the compositions, songs and programs he has created in a musical sense. He is a state artist and often emphasizes that he makes art using the historical and sociological accumulation of the people, giving back what is from the people to the people, Barış Manço uses this tradition, which is based on the tradition of minstrelsy, as the main source, but also manages to transform the tradition of minstrelsy. He does not look warmly at breaking away from the tradition of minstrelsy, but he is also aware that the tradition will not be maintained with its current boundaries and conditions. He knows how to carry the tradition to his day and beyond by using his socio-cultural and musical capital. He is not satisfied with this, unlike a tourist, he travels around the country and abroad like a traveller. On the one hand, it is flexible while leaning firmly on its historical and cultural accumulation. He wants to get to know and promote each place, every culture and history. Barış Manço is both a native and a foreigner of the World and Turkish culture. When he takes from Turkish culture and tradition, he takes his foreigness from his academic education to the environment he has gone to. What makes Barış Manço exist is that by cımbining these two in common, it creates a perfect synthesis.
Keywords
Barış Manço, Traveller, Minstrel, Minstrelsy Tradition, Historical and Sociological Realities.
