Popular Music Produced Between 2007-2017 and intermusicality

In notable music conveyed in Turkey between 2007-2017,

One more melodic thing proposed by Aktulum as intermusicality.

taken by term as references to the music thing

Various stanzas by Cengiz Kurtoğlu, Sezen Aksu and Sebnem Ferah

Reminding or intriguing references have been perceived.

Cengiz Kurtoğlu-Doesn't Care: Voiced by Gripin and

Beni Empty Yere, which continues with "burden", "evil"

Cengiz in an Arabesque style found in the tune Yorma (2016/24)

Kurtoğlu's tune "I can't muster the energy to care" sang in 2014

It is done with the lines "My existence is a gift to your nonattendance" and an intermusicality is made by using these lines in the tune through reference:

May my world be a gift to your nonattendance.

Sezen Aksu-My Roses Have Faded: by Gülben Ergen

Performed and refrains formed by Oğuzhan Koç, I Have Gone Days

(2009/01) by purposeful anecdote in the stanzas of the tune "dreaming".

The explanation "All of my roses have obscured", depicting the error, imparts Aysel Gürel's words.

formed by Sezen Aksu (b. 1954) and again imagined

perhaps the best assortment of Turkish famous music, portraying the disappointment

The name of the song "My Roses Faded" in "Smile", one of the

it reminds. So in this tune, between the stanzas

an intermusicality with references to or suggestive of

exists.

Sezen Aksu - Burn Everything: Voiced by Funda Arar,

"Love" in the song Yak Gel (2009/10) made by Burcu Tatlıses

an attitude that places it over the wide range of various things, cleanses the rest, even "burns-through" it, devastates it.

has. It's been long, how hard it has been/The heart is exhausted, return, let everything stay/Alone

Get back with reverence alone with warmth/Come burn-through all that you know, the words in your lines,

The dull articulation "Yak Gel" in the name and song of the tune was made in 1991.

Voiced by Sezen Aksu (b. 1954) and a rosewood song "Her

The song "Burn-through the Thing" and the tune "Devour me, burn-through yourself, burn-through everything/Love"

love should pass on for then love". same sort of music

There is a reference between the two stanzas in the

intermusicality is capable.

Şebnem Ferah-Yağmurlar: The heart sung by Ilyas Yalçıntaş

the nursery, and the darling is allegorically contrasted with a "bird with a destroyed wing".

The stanzas of the tune "The Duman in Me (2016/05)" by Şebnem Ferah 1996

"Permit it to rain everywhere" in the song "Storms" sang in

reminds the refrains, in such manner, there is a differentiation between two well known music things.

intermusicality is seen: Look at the nursery of my heart/My wing is broken

be my deluge, oil everywhere

3. Notable Music Produced Between 2007-2017 and

Intersemiotics

Notable music made in Turkey between 2007-2017

in their songs; Written things that Aktulum perceives as intersemiotics

all different sorts of workmanship, history, religion, hypothesis, old stories, tales, film, etc

It has been seen that there have been shipments to the spaces.

Notable Music Produced Between 2007-2017 and

Intersemiotics

Notable music made in Turkey between 2007-2017

in their songs; Written things that Aktulum perceives as intersemiotics

all different sorts of craftsmanship, history, religion, hypothesis, old stories, tales, film, etc

It has been seen that there have been shipments to the spaces.

3.1. Religion/Belief System(s)/Philosophy: 2007-2017 in Turkey

Various religions, conviction structures,

It is seen that there are references to hypothesis and illustrations.

Hinduism: Ayşe Hatun Önal's affirmation for arrangement

("system", "heart", "pound, etc) and sound emphases are used from time to time.

Sante caya ace caya ace Ganesha referred to in his tune Gum (2015/08)

The verbalization Ganesha is in Hindi, which means starting another situation in Hinduism.

It is the use of devout words to the god (Ganesha).

References to the conviction structure in Indian culture by reference

the stanzas show an intercultural/intersemiotic incorporate.

Christian/Sebastian: Hande Yener's Sebastian (2015/37)

referred to in the tune and showing the part of a various and mixed decisive

It is plausible to follow Sebastian's usage of beginnings back to Christianity.

Something will be said to someone by online media rockin' rollers soon, or

If a scornful disposition is to be shown, this is the pointer of Sebastian, the "laborer"

additionally, this disposition has become logically all over in the language (Say

Sebastian, may this predetermination favor us too, Behold our fondness

Sebastian

For example, online media

Usernames named "Tell Sebastian" on Twitter, one of his channels

opened (https://twitter.com/sebastian_339)††. Ingrained in standard society

Tell him Sebastian/Don't permit me to go insane/Your heart

do whatever it takes not to permit it to get harmed/Evening in the evening/If he has an issue/Let him come here

Permit him to talk/don't talk like that to his darling as a notable talk with his lines

transformed into a kind of talk. Regardless, this utilization isn't used recorded as a hard copy, humor or music.

seems to have happened in such locales already. jokester

In Atilla Atalay's (b. 1963) book "Eray" disseminated in 1999

Sebastian was used as the specialist of the individual Eray. Moreover in 1973

Cockney and refrains by British craftsman Steve Harley

Recalling the tune "Sebastian" performed with Rebel

must: "Somebody called me Sebastian". Zülfü Livaneli (b. 1946) besides

While making the music of the 1982 film Yol, during the twelfth of September

Abidin, a painter, visual craftsman and boss, to make an effort not to attract the thought of the organization.

He named Sebastian Argol as an assumed name Dino's (1913-1993) creation.

It is known to use

In any case this heap of locales,

It should be seen that Sebastian was moreover a critical name in the field of religion.

attracts. One of the heads of the Roman Empire and Christianity

Blessed individual Sebastian, pondered one of the super sacred individuals and holy people ever, changed over to Christianity.

Right when the dispersing mission was seen, it was connected to a shaft by the troopers.

entered with bolts and killed. It is accepted to be dead and left, but

He is defended by a Christian woman. Exactly when he was gotten again, he was beaten.

is killed. Christians appeal to Sebastian, who is considered the supporter sacred individual of fighters, especially to discard the plague.

In Hande Yener's tune "Sebastian", Sebastian

to give the negative affirmations they expected to say to each other during their division.

is in the circumstance of a head worker. Sebastian, the laborer of the Eray character, is now and again

He is a specialist who passes on the notes on the answering mail to his ruler. Zulfu Livaneli,

September 12 (1980) with the music he shaped for the film Yol, under the pseudonym Argol

He endeavored to do whatever it takes not to attract the thought of the association during his period. your music

He used this name as an agent while moving. by means of online media

in the notable @SoyleSebastian design, Sebastian

It was used as a delegate gadget to pass on his thoughts. Sebastian

People who are called as "the inward people of people in film, composing and music"

his voice, the transmitter-ace situation of what he wants to say", Christian holy person

may be connected with the blessed individual Saint Sebastian. Blessed individual Sebastian, Christianity

He was killed because he made discussions to spread the word. a severe figure

Heavenly individual Sebastian is by and by an agent among God and his laborers. Various

The name Sebastian, which is used for basically a comparable explanation in the field, is renowned.

It is for all intents and purposes like an instrument that passes on people's inward voice and antagonistic energetic states.

appears as a pointer.

Islam/Kiramen Katibin: Bengü's Two Angels (2009/21)

Some severe data are associated with the refrains. As shown by the Islamic conviction

"Kiramen", which makes his extraordinary deeds and sins and is acknowledged to be on the two shoulders.

There are two angels named "Katibin" (significant recorders). "Regardless, your

There are legitimate guardians and altogether significant copyists (kirâman kâtibîn) above you.

that they know what you do" (Infitâr, 82/11-12). So on my shoulder

in two angels/One for reverence, one for concordance…

"angel" suggests these angels in the Islamic certainty. Ensure

The task of the two angels in the subject is changed in the sections of "warmth and agreement".

have been their watchmen. This is the parts in the training found in postmodernism.

as a work to take them and change them, to give them another significance.

possible to survey. As such, like music and religion/conviction structures,

There is a between marker between the fields.

Karma Philosophy: Tarkan sang, with sections by Sezen Aksu

My yesterday and my present in the song Kiss (2010/12) made together

liver sheep wrap/It's late, it's sensible/In my past mix strings

The word karma (<kri) is Sanskrit and connotes "to do, to act, to act in an activity word.

implies "to be". The training of Karma in Indian religions,

It is related with Samsara, the trust in "restoration". The authenticity of the explanation (sway reaction) rule continues as long as the spirit exists.

it does. Karma in Hinduism, Buddhism and Jainism; any show or

imparts that the result of the thought impacts simply that person all around.

Recently referenced

areas, this "karma" which can be summarized as "You get what you truly look for".

thinking/law/educating", comparably Tarkan's 2001

It is in like manner a reference to "Karma", the 6th studio assortment of his employment.

Sufism/fenafillah: No Love, voiced by Mabel Matiz

The tune is to be (2013/23) was first recorded in 1996 by Yıldız Tilbe (b. 1966).

said by In the tune of the tune that analyzes the unpredictability inside to a bundle and demands help from the sweetheart to address this multifaceted nature.

My tranquility is from my craze/Someone says love is to disappear/I'm not there at any rate

words pass. In particular, the verbalization "Love is to bite the dust" is sufistic.

Yunus Emre (1238-1328) and

The "worship" depicted by sufi essayists like Mevlana (1207-1273)

(divine/supernatural love). "One of the basic considerations of Sufism

show up at the level of destruction (fenafillah) inside seeing God, who is one

The sufi who needs to destroy everything (ene/heart) neglects to recollect everything and

It hopes to become one with God by going through the association of the world. The name "Fenafillah"

In this given situation, there is a state of constant happiness and energy. In any case, he

time has slipped by from the sufi mind boggling presence, it exists with the presence of God

as he heard it in his heart. Exactly when the nonattendance is done, there is so to speak

God remains. In like manner the Sufi destroys himself in God. in sorcery

be mortal from various things (Pala 2003: 161). sorcery

This considered "elimination", which is every now and again took care of in the lifestyle of renowned music,

"Love says to bite the dust" is placed in the verse of the old culture.

should be surveyed as an adjusting of the custom.

Regardless of the way that Murat Dalkılıç's tune Derine (2014/25) is about human love,

Allah in the tune is love, you are the extra line, Mevlana and Yunus

It assists the course of action with recalling heavenly love that Emre represents in his works. Above

explanations about divine love, and especially "God's quality and

The enunciation "God is love", which is reminiscent of references, for instance, "hear in your heart", is a

it emerges as the between symbolism in the tune as a piece.

In the tune called My Mind's Ropes Released (2007/17) performed by

Streams in the seas/The seas stayed on the shores/Those who search in vain

on the ground/Believers found in requests routinely in Sufi culture

the separation of "assortment (kesret) - (fortitude)" treated with "stream" and "sea"

conveyed by markers. In the seas where the streams stream

the fortitude of the lovers to petitions, similarly as the fortitude of

is explained. Likewise, with the (hermeneutic) getting plane

Exactly when surveyed, this separation in the Sufi culture that exists in the training

This standard has been used suitably in the text to ensure an exceptional decency.

Sufism/soul-soul obstruction: by Mustafa Ceceli

sung, sections created by Sezen Aksu, Unutamam (2007/14)

In the tune But my liver devours/The skin pauses and the soul channels sections

A huge part of the scholars, for instance, Mevlana and Yunus Emre inside the arrangement of wizardry culture

the something more significant and presentation of the "soul-soul" obstruction in the schedules.

There are references in a pantomime similarly as

This separation is imparted as follows: "The tissue is transient, the soul doesn't fail miserably, since it is no more.

He doesn't return/if he fails miserably, the skin passes on, spirits are not dead"

in an among decisive and intertextual association at a level

assessable.

3.2 Cinema/Performance Arts: Italian-French film

portrayed as the "seventh craftsmanship" by the researcher Ricciotto Canudo and

film and a couple of displays that are recognized as such today

a couple of references to their forte in well known music songs

is seen.

Alain Delon: referred to in Sıla's song Alain Delon (2010/09)

Alain Delon (b. 1935), unimaginable and alluring performers of the universe of film

among them. Entering a scene to play with the stanzas

the woman meets an appealing yet also cool and mean man

is explained. The appealing and sick man experienced here is a Frenchman.

He is identified with performer Alain Delon. Accordingly, the notable performer in the tune

intersymbolism among music and film with the use of the name

A reference is made to what we can say: I am Alain Delon.

how it jerks.

Türkan Şoray: Türkan voiced by Demet Akalın

In the tune named (2013/08), there is a man who leaves his sweetheart and holds up fully expecting compromise.

The holding up course of the individual is explained. In the song he didn't look for sense of pride and

Not being searched for

perseverance is also imparted as preferred treated steel. This

Yeşilçam, which is the name of the tune, is the most striking part in the refrains.

Film and music using the name of the performer Türkan Şoray (b. 1945)

There is a between pointer between them. I watched two or three elephants the past evening,

Please accept my apologies to cry/Isn't there Turkan?

The "two or three movies" watched in his stanzas make Yeşilçam film, and the name "Türkan" is besides

Imparting Türkan Şoray as a regular social part of the Turkish group.

used. Also, the enunciation in the tune didn't make us kiss again on the lips.

The famous "Türkan Şoray" known to the Yeşilçam social class and group

audits the standards. This utilization is just ordinary to Turkish crowd individuals.

Notwithstanding the way that it gives between symbolism Yeşilçam, its lifestyle, yet also

regardless, when you are abandoned (I am very melancholy, unbelievably)

wound up being followed.