Bu çalışma kapsamında Yurttan Sesler örneği ekseninde, fikirlerdeki değişim mefhumu, gelenek ve modernite bağlamında tartışılmıştır. Konunun hem etnomüzikolojik boyutu hem de antropolojik yorumu müzikteki sistemsel değişimlerin bir fikirsel dayanağı bulunduğunu doğrulamaktadır. Buradaki yorumlar, gelenek ve modernite geçişinde bir işlev gören derlenmiş Anadolu müziksel envanterinin, Yurttan Sesler aracılığıyla kurgulu bir yeniden üretimle şekillendirildiğini vurgulamaktadır. Bu yeniden üretim içsel ve dışsal değişimlere sahiptir, ancak Yurttan Sesler kurgusu içinde sahte değildir. Çalışmanın bölümleri, etnomüzikolojik bir çıkarım için zemin hazırlayan sistematik bir ilkeyle yazılmıştır. Makalenin yöntemi ise nitel araştırma yönteminin özdüşünümsel dili, oto-etnografik bakışı ve yerli etnograf düşüncesini kapsamaktadır. Bu etnografik çalışma, etnomüzikolojik bulguların alamet-i farikası bağlamında yorumsamacı yaklaşımla yazılmıştır. Konunun antropolojik boyutu gelenek ve modernite kavramlarını, fikirlerin değişimi temelinde tartışmaktadır. Müziksel değişim ise konunun etnomüzikolojik alanıyla ilgilidir. Vaka analizi bölümünde, Yurttan Sesler olgusunun çıkış noktasındaki fikirsel tutumun temelleri modernite ivmesiyle yorumlanmaktadır. Çoksesli milli musiki yaratmaya karşı, Anadolu halk ezgilerini yeni bir yapı ve sistem içinde sunmak için ortaya çıkan Yurttan Sesler'in günümüze kadar dört kuşak boyunca icra ve sistem anlamında kendi öz disiplinini ve lobisini yaratan bir oluşum olduğu ortaya çıkmıştır. Sonuçta, Anadolu halk müziğini yeni otantisite içinde yorumlayan Yurttan Sesler'in her kuşağının gelenek, otantisite, değişim ve modernite çerçevesinde farklı fikirlere dayalı halk müziği icrası yaptığı görülür

In the coverage of this study, in the example of Yurttan Sesler, the concept of change of the ‘ideas’ has been discussed in the framework of the tradition and modernity. Not only the ethnomusicological dimension of the subject but also its anthropologic interpretation confirm that there is an intellectual ground of the systematic changes in the music. The interpretations here emphasis that the Anatolian music inventory has been shaped by means of a re-production which is fictionalized through the Yurttan Sesler as it serves a function in the transition of the tradition and modernity. Such re-production has both internal and external changes, however, it is not false within the fiction of the Yurttan Sesler as well. The chapters of the study have been written with a systematic principle which prepares a ground for an ethnomusicological deduction. The method of the article covers the self-reflexive language of the qualitative research method, its auto-ethnographic perspective and the native ethnographic opinion. This ethnographic study has been written by means of the interpretative approach in the meaning of the earmark of the ethnomusicological findings. The anthropological dimension of the subject discusses the concepts of tradition and modernity and the change of the ideas at the basis. The musical change, on the other hand, is related with the ethnomusicological area of the mentioned subject in question. In the study of the case analysis, the bases of the intellectual attitude at the point of outlet of the phenomenon of Yurttan Sesler are being interpreted by means of the acceleration of modernity. Yurttan Sesler came out in order to present the Anatolian folk music within a new structure and system, against the efforts which are made in order to create a nationalist polyphonic music. Until today, it is a folk music ensemble that created its own discipline and lobby in the context of performance and musical system along with four generations. As a conclusion, it is observed that every generation of the Yurttan Sesler which interpreted the Anatolian folk music in its new authenticity performed the folk music performance based on the different ideas in the frame of the change and modernity This article is interested in the values and socio-cultural changes in Turkish folk culture and music. The matter of change evaluated here isnot an accidental and temporary process. It takes aspects and description from its own cultural processes and more importantly from ideas. Yurttan Sesler case analysis shows that different continuity and change in the music are two sides of the same coin. Continuity and change relate to ideas and especially about the cultural values competing between Eastern and Western cultures continuing by the Turkish people. The issue discussed here concerns the structural changes in the music of a people relate to significant changes in the official or ideology and especially, the ideological change which they are based. In this sense, the structural changes in the music of a people can be associated with meaning given to their cultures and ideology. This view does not regard as possible that all members of a society or a group will always explain their culture and the changes they experience likewise and that they will make the same definitions. Because members of the public have a kind of membership and sense of group, they have some common and everyone-accepted criteria to emphasize the cultural features that separate their cultural acceptance or the values from others they adopt. For this reason, we can say that there is a separate existence field interconnecting for music and its environment. I chose the sample of Yurttan Sesler which is the most important figure in Turkish folk music or Anatolian folk music performances with common namebecause it carries a mystery involving with musical change in other words a duality of tradition and modernity in itself. In Anatolia, there are musical data which are dispersed, which have their own motion and style and which have gained representation value with its functionality. It has been attractive to me that that musical values have been valued and positioned in a 'modern' - 'contemporary' framework with a changing and specific musical system, structural and visual form. Change has clearly come out of in certain musical characteristics. If we evaluate in its own right, the two separate musical systems are now defined under the name 'tradition' despite their differences. The first system in Turkish folk music is the "Anatolian source" folk music performances that continuing in the oral tradition until the 1900s, spreading from the ear to the ear, acting with the master-apprentice relationship, continuous without formal and institutional formations like any notation-choral system-system performance. In this system, there are cultural formations of folk tunes and word transfer (see: Yöre, 2000; Karahasanoğlu, 2008 ve 2014; Gazimihal, 2006; Başgöz, 2008; Bartók, 2017). The second system is a new category that started in the 1920s and came out with comparison imported from Europe and uses Western organizations. While it cares about self-emphasis, it emphasizes the western interpretation type and adaptation (see: Şenel, 1999; Altınay, 2004; Balkılıç, 2015). The performances of Turkish folk music have been indicators of institutional and systemic cycle (see: Duygulu, 2002; Elçi, 2008; Ayas, 2014; Balkılıç, 2015; Öztürk, 2016). This new understanding, which takes refuge in the more 'old' tradition, includes features such as compilation, roundup, systematization, recording, and collective performance competence. This study provides the knowledge that they have a differential continuity in the tradition of these two types. The transition and the change between the first and second systems, then, a musical genre and repertory content is its subject. But first there is a more important problem that cultural scientists will be interested in, at the level of ideas of about 'old' and 'new'. The general relationship of socio-cultural change with musical change must be well read and expressed In order to understand the transition from the Anatolian music system to the 'Western' music system, the importance of the ideology as a method of explanation mentions in the role of socio-cultural changes of the invention of tradition. Yurttan Sesler is not only a form of musical performance but also indicators of wide-ranging practicable ideas. Yurttan Sesler, who gave the "tradition", "authenticity" code to the previous system, has strengthened the "modernity" pattern at the beginning. Today, the fact that Yurttan Sesler has traditional and authenticity codes, itderives from its initial ideological pattern at beginning. In this research, Yurttan Sesler, which represents Turkish folk music institutionally, has been examined the relationship with tradition and modernity. Conclusion Within the context of the article, the folk music inventory was handled in two basic systems as Anatolian source and Yurttan Sesler source in the evaluation made on the axis of tradition and modernity. It was seen that Anatolian source was perceived as with a tradition encoding giving reference to the past. The most important basis of this interpretation is national music creation mission in the process of creation folk music inventories and building nation-states. The formation of Yurttan Sesler with this mission is to show the presence as modern formation of time. The Anatolian sources have shown an ongoing natural spread with a master-apprentice relation in a functional structure. Yurttan Sesler has been in the desire for protection and standardization of this tradition with formal order, internal discipline and an ideological attitude. The creation of Yurttan Sesler presents unique transition point and indicator within the perception of tradition and modernity. Within the context of this article, ideological understanding in the transition point was interpreted with participant observation technique. First, it is the result of the fact that Yurttan Sesler case is modern formation of time. It is understood that its period was structured with a different ideological motion within the movement of Westernization and modernization. Yurttan Sesler has read conception of access to 'level of contemporary music' in its way to creating "National Music" witha unique ideological basis. According to the folk songs of the period, this approach is an attitude against top-level art understanding and identification that is requested to be created through polyphonic musical production. The creation of self-discipline of the folk songs and the deployment of the performers are a state of establishment a place in the institutional structure of the state, and an action of lobby. The formation of Yurttan Sesler was evaluated as four generations until today. The beginning of these four periods is the first generation consisting from Sarısözen and his musicians. All the work done within the modernity idea is based on the preservation and standardization of the folk music inventory. Internal and external pattern such as compilation, notation, choral reading education, terminology are the most distinct modernization attitude of this period. The second generation of performers has contributed with continuation action to the formation of Yurttan Sesler. They have attributed holiness to this ideological motion. This is also the period when the Formation of Yurttan Sesler became a tradition. This structure, which has not been similar before, maintains to strengthen and staff. The vision of the first generation was sanctified and an authenticity sense was constituted.