EXAMPLE of CAHIT BERKAY in the CONTEXT of TURKISH CINEMA Ayhan Dolunay1 Fevzi Kasap2 Hüseyin Kambur3

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THE EFFECT, IMPORTANCE AND FUNCTIONS OF MUSIC IN CINEMA: EXAMPLE OF CAHIT BERKAY IN THE CONTEXT OF TURKISH CINEMA Ayhan Dolunay1 Fevzi Kasap2 Hüseyin Kambur3

Abstract: This study focuses on an Near East University Vocational School example of Cahit Berkay who has an of Health Services Year 2 students) important place in the context of film viewed; reactions of students, content music and the importance, effect and analysis technique a from qualitative and functions of music in the Turkish quantitative research methods, has been Cinema. Essentially of the study within measured within the framework of their the frame of literature review, music, responses through written opinion forms cinema, the relation between music and with predetermined structured questions. the field of arts, Turkish Cinema and Furthermore, a semi-structural interview music, also provides information relates technique used from qualitative research with Cahit Berkay in the context of methods, face to face interview music in Turkish cinema. The research performed with Cahit Berkay pre- part of the study, to measure the effects prepared open-ended questions; the of the soundtracks composed by Cahit collected data have been evaluated by Berkay, “Selvi Boylum ve Al content analysis method. Yazmalım” and “Çöpçüler Kralı” movies detected by sample for purpose, Keywords: Cinema, Music, Turkish versions separated from music with Cinema, Cahit Berkay, Selvi Boylum Al technical method and original music Yazmalım, Çöpçüler Kralı. versions interview group (limited to

1 Near East University, Vice Director of Graduate School of Social Sciences, Legal Advisor and Lecturer of Faculty of Communication, Members of Cyprus Turkish Bar Association and Communication Research Center, Assist. Prof. Dr., Nicosia, TRNC, Mersin 10 Turkey. [email protected], https://orcid.org/0000-0003-1862-4500

2 Near East University, Vice Dean of Faculty of Communication, Head of Radio, TV and Cinema Department, Member of Communication Research Center, Assoc. Prof. Dr., Nicosia, TRNC, Mersin 10 Turkey. [email protected] https://orcid.org/0000-0003-3965-3837

3 Music Masters Student, Nicosia, North Cyprus, Mersin 10 Turkey, [email protected], https://orcid.org/0000- 0002-0190-7603 449

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1. INTRODUCTION Music is in a direct or indirect Performance of the art of relationship with emotions in every cinema with music is limited to the environment, and it often does this recent period in terms of history. without notice. In this context, music According to Provenzano's point of view determines what will be felt about what (2008: 5), the music composed for is seen by directing and increasing movies cannot be categorized and emotions. According to Konuralp counted as a different type of music, (2004), seeing and hearing are always since it cannot be considered separately functioning jointly, and this explains from the movies. In other words, cinema how music is seen as an integral part of soundtracks are specific to the movies the art of cinema. In cinema films, the for which they are made and are practice of music is constantly changing identified with them. According to and improving. The development of the another view, music has a unique feature cinema / music relationship in the world of transfer and is open to connotation. If cinema and its change over time was this feature is combined with visual reflected in the Turkish cinema culture, elements, a unity in emotional transfer is albeit with a delay. achieved (Burt, 1994: 10). Uni-dimensional 2. LITERATURE REVIEW demonstrations were also conducted 2.1. Conceptual Framework before movies and filmmaking, and In the study, information is music was used during these given first within the framework of demonstrations. Since then, the practice literature review on music, cinema, the has always been changing in the relation between music and cinema art combination of music and the visual, but branches, Turkish cinema and music, the aim has always been the same. The and in addition, in the context of music main point is to increase the effect of the in Turkish cinema, Cahit Berkay. In the message in the visual element and to research part of the study, in order to reveal its emotions. Music is a tool that measure the effects of soundtracks can create great changes in humans composed by Cahit Berkay, two versions emotionally, albeit in a short period of of the films "Selvi Boylum ve Al time, and this is a scientifically accepted Yazmalım" and "Çöpçüler Kralı", one fact (Doğan, 2009: iii). isolated from film musics with technical

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methods and the other with film musics, 4. What is the role of soundtrack in the were shown to the interview group correct transfer of emotions that the (related group was restricted to movie / scenes want to give? sophomore students of the Near East 5. What are the main factor(s) in the University Vocational School of Health success of the soundtrack composed Services). The responses of the interview by Cahit Berkay and the formation group were tried to be measured by using stages of the soundtrack? content analysis technique, which is one 6. How is it that soundtrack is more of the qualitative and quantitative prominent than film, and what is the research methods, within the framework place of the soundtrack composed of their responses through written by Cahit Berkay from this aspect? opinion forms containing predetermined structured questions. 2.2. Turkish Cinema & Music In addition, face-to-face interviews were conducted with Cahit Cinema, which is one of the Berkay, using open-ended questions and indispensable industries of all countries, semi-structured interview technique, states and societies in the world, emerges which is one of the qualitative research as a structure which sees the production methods, and the data obtained were and presentation of domestic movies in evaluated by the content analysis Turkey for more than 70 years. Like the method. Hollywood of American cinema and Research questions are as follows: Bollywood of Indian cinema, Turkish 1. What is the place of music among cinema is also famous for Yeşilçam. the influencing elements (script, Although there are different approaches actors / acting, visual effects, etc.) in about why the name “Yeşilçam” is used, the movie? the most realistic and plausible approach 2. What is the importance and function is the name of the street where film of music in the movie? production companies and directors 3. Does the soundtrack have the operating in the cinema sector were function of transferring / located before the 1980s (Why is Turkish strengthening the emotions that the Cinema Called Yeşilçam?, 2019). movie / scenes want to give?

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The reason for the including Yılmaz Güney, in the popularization of cinematography in beginning period of Yeşilçam was that Turkey is that, while people in large they experienced identity problems in cities such as Istanbul, Ankara and Izmir the cinema sector which was developing could reach visual arts (plays, dramas) as Anatolia and the West. It was not easy easily, people living in rural areas could to appeal to both cultures and achieve a not watch this kind of daily pleasures. balance (Gümüşkemer, 2018: 6). Theater plays, folk tales, novels and Turkish cinema, just like other stories have been adapted to cinema world cinemas, has evolved and changed films and shown in rural areas, so that over time in line with both material and people in these regions could see these artistic concerns. At first, adaptation of cultures and have fun. Financial gains tales and stories attracted public were accepted as the reward for this attention. Keloğlan fairy tales, Tarkan, endeavor. Ayşecik and Magic Dwarves are films Turkish cinema is basically that have been created in this style. After divided into 3 parts. The first part this trend, comedy and drama films includes the period from the 1930s, appeared in the medium term. Kemal which was accepted as the beginning, to Sunal, Hülya Koçyiğit, Türkan Şoray, the end of the 2nd World War. Muhsin Edis Hun and many others left their Ertuğrul, who was a dominant marks on this period. Kemal Sunal, who personality in the early years of the played a role especially in current films, republic, is known as “One Man” in came to the fore in this period. On the Turkish Cinema with his own other hand, the movies of Zeki Alasya- adaptations. After the end of World War, Metin Akpınar pair broke box office the "Yeşilçam period" started as the main records. After this comedy and drama building block in Turkish cinema current, Turkish cinema, which was between 1950 and 1980. In the Yeşilçam distressed in material matters, drifted period, due to the absence of post-war towards a different path with increasing production in the world, producers chaos, economic troubles and murders in moved away from American and social life. With the advent of sexually European films, and there was a themed films, Aydemir Akbaş became tendency towards Egyptian films. One of the new “favorite performer” of the problems of the group of artists, Yeşilçam. On the other hand, the songs

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of famous names (Orhan Gencebay, the visualization of the scene. The main Ferdi Tayfur, İbrahim Tatlıses) were theme music in the movie Selvi Boylum turned into films that told the story of the Al Yazmalım is also still in the minds. In song, and Turkish cinema tried to save the first note, Türkan Şoray's glance itself by paying a last effort thanks to the towards Kadir İnanır comes to life in the popularity of such singers. In these films eyes of everyone. Berkay, who has made with the win-win logic, the singers composed several soundtracks like these, planned to add their fame by making is one of the best-known film music their voices heard by masses who did not composers of Turkish Cinema (Cahit have an interest in them before. Berkay: It comes with every new However, these final efforts of Yeşilçam generation style, 2019). did not turn out fruitful, and this period ended, and a new period began (Arslan, 3. RESEARCH: THE 2001: 11). IMPORTANCE & FUNCTIONS OF “Music” is undoubtedly its FILM MUSIC’: EXAMPLE OF only unchanging assistant in the CAHIT BERKAY IN THE TURKISH adventure of Yeşilçam films. The music, CINEMA which carries the catchy and emotional 3.1. Cahit Berkay effects of the movies to the peaks, has Cahit Berkay was born and been the supporter of Turkish cinema not raised in Isparta in 1946 and migrated to only in the Yeşilçam period but also in Istanbul with his family in the late 1950s. every period. Several names such as He finished high school and university Atilla Özdemiroğlu, Cahit Berkay, education in Istanbul. In his musical Melih Kibar, Esin Ergin have brought journey which began with mandolin, he immortal musical works to Turkish took his first step in professionalism by cinema (Turkish Film Music Composers, joining Selcuk Alagöz's orchestra in 2019). Especially the music that Cahit 1964. Berkay, one of the first members Berkay made, even overshadowed the of the band Mongols, which is one of the visuality of the films from time to time. first rock bands in the history of Turkey, For example, the music that playing in was playing acoustic electric guitar, the background while Kemal Sunal runs baglama and ıklığ in the band. Berkay’s from the police with the wheelbarrow in best-known works have been the music the movie “Çöpçüler Kralı” still leads to he made for cinema movies. Berkay,

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who left his mark in every area of the Kılıbık, Kırık Bir Aşk Hikayesi, Kibar Yeşilçam generation, made music for Feyzo, Mavi Mavi (movie), Mine several movies. He worked with names (movie, 1982), O Kadın (movie, 1982), such as Cem Karaca, Barış Manço, and Ortadirek Şaban, Postacı (movie), Selvi Selda Bağcan throughout his career, Boylum Al Yazmalım (movie), Şaban which earned him over 200 awards. Pabucu Yarım, Şabaniye, Tomruk (movie), Tutku (movie, 1984), Uzun Bir During his career, Berkay Gece (movie, 1986). released 3 albums consisting of his own film, series and cinema musics, apart 3.2. Methods from the albums he made with his bands. In the study, it is aimed to When these albums, which contain many measure the effects of soundtracks timbres familiar in Turkish cinema, are composed by Cahit Berkay. In this listened, Kemal Sunal's mouthful smile, framework, 2 cult films, “Selvi Boylum the first look of Türkan Şoray to Kadir Al Yazmalım” and “Çöpçüler Kralı”, the İnanır driving a red truck, and the sad former being a drama and the latter being scenes of the movie “Buzlar a comedy, have been chosen Çözülmeden” are recalled in memories. purposefully. In both movies, the scenes Some of the soundtracks where emotional states increased and composed by Cahit Berkay are listed scenes which came forward were alphabetically below (soundtracks determined and isolated from their music composed by Cahit Berkay, 2019): by technical methods. The musical and Acı Günler (movie, 1981), Aile non-musical versions of the prepared Kadını, Arkadaşım, Aşkların En Güzeli sections were viewed by the sampling (movie, 1982), Baş Belası (movie, determined within the framework of 1982), Bedel (movie), Birkaç Güzel Gün purposive non-random sampling in İçin, Bodrum Hâkimi, Cevriyem, Çark qualitative and quantitative research. (movie), Çöpçüler Kralı, Davaro, Deli Deli Küpeli, Derviş Bey, Devlerin Aşkı The main objective of a (movie, 1976), Dila Hanım (movie), purposive sample is to Doktor Civanım, Garip (movie), Gazap produce a sample that can be Rüzgârı, Gülen Adam, Her Şeye logically assumed to be Rağmen (movie), Kanca (movie, 1986), representative of the

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population. This is often the tendency of digital resident accomplished by applying generation y and especially generation z expert knowledge of the to reach the conclusion instantly and pass population to select in a on to another stimulant in a very short nonrandom manner a time with the effect of technological sample of elements that facilities, which turn into a habit. In this represents a cross-section of framework, it is aimed to determine the population (Lavrakas, whether the music will be effective in 2008). focusing of the young generation, especially by concentrating on the 18-25 In this framework, the age range. population of the research has been On the other hand, preferring determined as sophomore students (400 individuals who have not received people) of the Near East University psychology or communication education Vocational School of Health Services. can be explained as follows: The The sample was chosen by identifying education fields in question were thought 20% of the population randomly (80 to be guiding in terms of watching people). movies and perceiving emotions in the The interview group was scenes. In this framework, individuals identified by convenience case sampling, who were not educated about but the following factors were taken into psychology or cinema were preferred, account in orientation to the group: and it was aimed to obtain an evaluation - Individuals between the of the situation by the audience from a ages of 18 and 25, more general viewpoint. - Individuals who have not Following the demonstrations, received psychology or communication written opinion forms with pre-prepared education. structured questions were provided to the The point in choosing this age sample. The data obtained from these interval is the intolerance of young forms were evaluated by content analysis generation in focusing. To exemplify, technique. In this framework, the the patience and motivation of digital differences in the emotional transfer, the migrant generation x in a 10-minute effects it creates between the musical and scene of a movie can be compared with the non-musical versions of the films

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shown, and the importance of music in within the framework of structured cinema were tried to be measured. interview conducted with the sample “Interview” is used as a were analyzed by content analysis professional technique or an assistant technique. tool in several fields such as journalism, Content analysis is a research law, and medicine, and especially in all technique in which valid comments from research fields of social sciences (Kahn, the text are revealed as a result of 1983: v; Tekin, 2006: 101). Interview, successive processes (Weber: 1989: 5; which is a data collection technique Koçak & Arun, 2006: 22). frequently used in qualitative research, On the other hand, in the provides the opportunity for the context of the subject of the study, an interviewees to express themselves interview was held with Cahit Berkay in directly. The researcher, on the other order to obtain detailed information hand, has the opportunity to make a about the films that Cahit Berkay made comprehensive observation about the soundtracks and to question the effect of person(s) he / she interviewed the music in the films. (McCraken, 1988: 9; Tekin, 2006: 102). Within the scope of “purposeful Interview is a technique that sampling in qualitative research”, an in- provides detailed answers and ensures depth interview was held with Cahit collection of one-to-one information by Berkay. The study has been constructed asking questions covering all aspects of on the effect of his soundtracks. the research subject (Johnson, 2002: 106; In semi-structured interviews, Tekin, 2006: 102). pre-determined questions are used. Interviews can be divided into Although in a more limited scope than three groups: unstructured, semi- unstructured interview, it is possible to structured and structured (Punch, 2005: detail the targeted data / responses by 166; Tekin, 2006: 104). Structured using spontaneous questions in the light interview is a research technique in of the course of the interview. In the which questions are prepared and study, semi-structured in-depth options for answers are not changed interview method was preferred. In this during the interview. framework, interviews were conducted In this framework, the data in the light of the questions prepared in obtained through written opinion forms the study. In the light of the course of the

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interviews, spontaneous questions were İ9: “I watch movies every also included, and the data were detailed. day, there is at least one Data obtained within the framework of movie.” semi-structured in-depth interviews were 31,3% (n 25) stated that they analyzed by content analysis. watched movies very 3.3. Examination of Movies frequently (every day, more In the structured in-depth than once); interviews held with the interview İ8: “I watch movies a lot, I group,4 the analysis of the data obtained take pleasure in it. 2-3 times through opinion forms5 was conducted a day.” using the themes below which were And 28,7% (n 23) stated that determined as a result of the detailed they watched movies in examination of responses. normal intervals (4-5 times a week). As the population/interview İ13: “I like watching movies, group is too broad for conducting in- I see 4-5 movies a week.” depth interviews, direct citations were No participant stated that made from participants at the rate of 5% they watched movies rarely after ratios in content analysis. (2-3 times a week) whereas 1,3% (n=1) stated that they 3.4. Movie Watching watched movies very rarely Frequency (once a week). Interview group stated that they watched movies frequently (every day, 3.5. The Factors That Affect the Film6 once) at the rate of 38,8% (n 31); The factors that make an impact İ5: “I watch a movie at least in the movie are considered within the every day.” framework of story / script, acting / actors, and visual effects. On the other

4 Since the age range and education level of the expert on methodology, and Lecturer Kerem interview group are certain, the demographic Kuban from Yaşar University Faculty of characteristics table is not needed. Participants Communication, who is a film therapy specialist. consist of 60% women and 40% men. 6 The interview group was informed that multiple 5 Written opinion form and questions were elements could be counted in the relevant revised and finalized based on the opinions of question; and the interview group expressed Asc. Prof. Dr. Ahmet Güneyli from Faculty of multiple elements. Education of Lefke European University, who is 457

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hand, music is an important factor that they do not prefer to watch movies where cannot be neglected in terms of the music is not used: impact of a movie (Doğan, 2009: 11). Interview group stated that the İ3: “Music is important in most important factor of a movie in the movie, movies without influencing the audience is the music do not interest me story/script with 83.3% (n 67), whereas much.” 67.5% (n 54) stated that it was the I6: “I think music is a must, acting/actors, 62.5% (n 50) mentioned movies are not meaningful music, and 46.3% (n 37) said that it was without music.” visual effects. I17: “I don't like watching In this approach, it is movies without film music, it noteworthy that music stands out more is absolutely necessary.” than visual effects, which has become a very important element in cinema, and is The percentage of those who expressed very closely with an important state that music should be used partially element such as acting / actors: and that they can sometimes watch İ31: “I think the scenario, movies without music is 30% (n 24): acting and music are İ23: “Soundtrack is important for the impact of necessary, but there are the movie.” good movies without music, I49: “The story and music of and I watch them” the movie is very effective.” İ60: "I think these are 3.7. The Functions of Film Music scenario and actors." The contribution of music to the success I73: “Visual effects, acting, of film music are supportive.” Soundtracks make an important 3.6. The Importance and Functions of contribution to the overall success of a Cinema/Film Music’ movie. The fact that the movies, which 70% (n 56) of the interview are known as masterpieces, are group emphasized that the use of music remembered with their music in general, is absolutely necessary in a movie and

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also demonstrates this contribution most important is the function of (Doğan, 2009: 11). providing / strengthening the transfer of The interview group stated that emotions (See Doğan 2009: 123 et al.). the impact of music on the success of a So much so that music has the power to movie was very high at 45% ratio (n 36): deepen the effect of a scene and to sharpen the focus of the story (Burt, İ21: “I think the effect of the 1994:). This powerful tool has a music on the success of a highlighting, accelerating or slowing, movie is immense.” intensifying impact in affecting the İ39: “I think music and subconscious of the audience (Irving, movies are inseparable. 1950: 35). Music is very important in The interview group stated that movies. It also supports the emotion transfer function of music in success.” a movie is quite important at 87.5% ratio 41,3% (n 33) stated that it (n 70): was high: İ53: “Soundtrack is an İ18: “A lot of things are important but it important factor in the is the music that gives the desired success of movies. It emotions. supports at high levels.” İ27: “Soundtracks make the emotions in İ76: “Music is necessary. If the scenes pass to the audience.” you ask as in terms of ratio, I58: "Music, for example, makes an it is high.” emotional scene be felt more clearly." İ80: "I think that the music makes the 13,8% (n 11) stated that it is at emotion felt by the audience in the normal ratio. None of the participants movies." stated that music has very little or no 8,8% (n 7) stated that it is normally effect on the success of a movie. important and 3,8% (n 3) stated that it is not important. Emotional Transfering Function Promoting Effect Although there are several According to Konuralp (2004), functions of music in movies, one of the soundtrack reminds the movie / film

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scenes whenever they are heard as a None of the participants result of their integration with the films answered that they would not find and they are used in. While the soundtrack listen to the music. has the effect of listening after the movie, on the other hand, it enables the 3.8. “Selvi Boylum Al Yazmalım” and promotion of the film, it being recalled, “Çöpçüler Kralı” and the transfer of these thoughts to other Previosly watched individuals / society (Doğan, 2009: 11). In the interview group, 88,8% In this framework, in the (n 71) stated that they saw both of the interview group, 78,8% (63) stated that movies Selvi Boylum ve Al Yazmalım they would find and listen to the and Çöpçüler Kralı. 3,8% (n 3) stated soundtrack after watching a movie that that they only saw Selvi Boylum Al they found impressive: Yazmalım, 6,3% (n 5) stated that they only saw Çöpçüler Kralı, and 1,3% (n 1) I33: "When I get out of the stated that they did not see either of movie, if I love the movie, I them. get the music and listen." In this framework, it can be I52: "Yes, in general, seen that the majority of the interview especially if there is music group saw both movies. that affects me, I often listen to it in that period." Functions of Cinematic Music: Effects I79: “Good movies have on Success of film; Emotion Transfer; good music. I buy the Correct Emotion Transfer soundtrack." Impact on the Success of the Movie 21,3% (n 17) stated that they The interview group stated that would rarely find and listen music had an important effect on the to the music: success of both films with a rate of İ24: "In general, I focus on 87.6% (n 70): the movie, and if the music interests me a lot, I I2: “The actors in the movies download it." and the script is very successful. So is the music.

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Music has a significant I25: “The movies are nice, but while impact on success. ” some scenes were not very impressive, İ14: “The music of both films the music made me feel impressed” is very impressive. It has a I37: "The music increased the emotional great influence on watching effect of the scenes and allowed me to movies. ” focus more on the film." İ29: “Two movies and I43: “I was impressed by the effect of soundtracks that can be music from the scenes that I would not be called cult. The effect of the impressed.” music is immense.” I44: “Memorable music. On the other hand, the rate of They have a lot of those who stated that they were not contribution to the success of affected by one / more scenes and the movies.” focused on the film thanks to the music, which they would not normally be 11,3% (n 9) of the interview affected, is 20% (n16): group stated that the music had a normal İ40: “I did not focus on the impact and 1,3 (n 1) stated that it had no movie due to music, or I was impact at all. not impressed by a scene due to music which would not Function of Creating Impact and impress me normally.” Focusing Konuralp (2004) states that one Transfer of Emotions Function of the functions of music is to enable the The interview group stated that audience to focus on the movie (Doğan, there was a difference in terms of the 2009: 124). The interview group stated emotional state created by the musical that, thanks to the music, they were and non-musical versions of the two affected by one / more scenes where they movies by 95% (n 76). would not normally be affected and that Within the percentage who they focused on the film by the ratio of stated that there was a difference, 92,1% 80% (n 64): (n 70) claimed that music ensured that the emotions that were aimed to convey through scenes were reinforced:

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I1: “The biggest difference between used, music conveys to the audience musical and non-musical scenes is that where and what to feel (Doğan, 2009: emotions are felt more deeply in the 155). In this case, when the music is movies I watch.” removed, the feeling desired to give can I42: "In versions with music, feelings in be reduced or completely lost. In fact, the scenes are better conveyed." false impressions / false subconscious I69: “In movies without music, the formation (Bayır, 2009: x) may be in feeling of the movie is not like the movies question. Again, according to Konuralp with music, it is weaker.” (2004), one of the functions of a I72: "The musical versions of the movies soundtrack is to provide expression are more impressive such that they are without movement or dialogue. more emotional, funnier." However, if the soundtrack cannot perform its role, it may create a false - 7,9% (n 6) stated that subconscious in the audience (Doğan, music led to the weakening of the 2009: 124). emotions that are intended to convey through scenes. o In the movie Selvi Boylum Al Yazmalım On the other hand, the which is an emotional/drama type of proportion of people who think that the movie; musical and non-musical versions of the • The emotional/light comedy scene two movies are not different in terms of where Kadir İnanır follows Türkan the emotional state they create is 5% (n Şoray with truck (Movie 1, Scene 1: 4). F1S1) created the following impression in the interview group: Correct Transfer of Emotions In musical version, 52,5% (n 42) felt Function7 emotional, 21,3% (n 17) felt comedy, In the movies, the audience 12,55 (n 10) felt dramatic, 8,8% (n 7) felt does not focus directly on the meaning of adventure, 3,8 (n 3) felt horror/thriller, music but focuses on what the music 1,3% (n 1) felt other (sense of threap). makes them feel completely (Burt, 1994: 11). When the right pieces of music are

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İ4: “It was an emotional I7: “Emotional. The person scene.” he loved was leaving him.” İ19: “It was emotional and I68: “The separation scene influential.” was emotional.” İ72: “There were moments I78: “It was an emotional where I laughed.” scene.” In non-musical version, 30% On the other hand, in non- (n 24) felt dramatic, 26,3% musical version, 37,5% (n 30) felt (n 21) felt emotional, 17,5% horror/thriller, 18,8% (n 15) felt comedy, (n 24) felt comedy, 16,3% (n 16,3% (n 13) felt dramatic, 11,3% (n 9) 13) felt horror/thriller, 5% (n felt adventure, 7,5% (n 6) felt emotional 4) felt other. and 9,2% (n 7) felt other (no impression İ16: “It was dramatic. It was created). a sad scene” İ20: “It was an emotional İ32: “It was as if he was scene” driving the truck on her. Like • The scene was Kadir İnanır and Türkan he wanted to kill her. It was Şoray had a conversation and Türkan a thriller scene.” Şoray turned her back and walked away İ74: “It was perceived that (F1S3) created the following impression he would forcibly follow her in the interview group: and hurt her. It was scary.” In the musical version, 71.3% (n 57) felt emotional, 25% (n 20) felt • The emotional scene where Kadir İnanır dramatic, 2.5% (n 2) felt comedy, 1.3% was moving away with pickup truck and (n 1) felt adventure: Türkan Şoray was chasing him created the following impression in the interview İ30: "The newly sprouting love was group (F1S2): emotional." • In musical version, 62,5% (n 50) felt I41: "An emotional scene." emotional, 16,3% (n 13) felt dramatic, İ50: "It was an emotional scene." 10% (n 8) felt comedy, 6,3% (n 5) felt I59: “Dramatic, walking away happily, horror/thriller, 5% (n 4) felt adventure. albeit shy.”

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In non-musical version, 41,3% I61: "He went to see the girl (n 33) felt dramatic, 36,3% (n 29) felt he loved, but it was funny." emotional, 7,5% (n 6) felt comedy, 5% I77: “Comedy. It's a (n 4) felt horror/thriller, 3,8% (n 3) felt successful comedy movie.” adventure, 6,5% (n 5) felt other (no impression or excitement created). In the non-musical version, 47.5% (n 38) I46: “Dramatic. It seemed felt horror/thriller, 23.7% (n 19) felt they could not come comedy, 18.8% (n 15) felt adventure, together. Because Kadir 3.8% (n 3) felt dramatic, and 3.8% (n 3) Inanir was not behaving with felt emotional. good intentions” I45: “It was as if he was I57: “Sad, although they going to harm the girl (Ayşen love each other, they Gruda). Triller." frightened and fled. I62: “Fear. It seems that he I64: “It was emotional, as if will do something by force.” it there was no trust” I67: "So I laughed again but o In the movie “Çöpçüler Kralı” which is a it was strange without romantic comedy type of movie, in the music." emotional/comedy scene (F2S1) where Kemal Sunal approaches from behind • In the comedy scene where Ayşen the wall when Ayşen Gruda is doing the Gruda’s brothers were chasing Kemal laundry, the following emotions were Sunal (F2S2), the interview group created: experienced the following emotions: In musical version, 57,5% (n In musical version, 68.8% (n 55) 46) felt comedy, 21,3% (n 17) felt answered comedy, 17.5% (n 14) emotional, 10% (n 8) felt adventure, answered adventure, 6.3% (n 5) 7,5% (n 6) felt horror/thriller, and 3,8% answered horror/thriller, 5% (n 4) (n 3) felt dramatic. answered dramatic, and 2.5% (n 2) answered emotional, İ15: “It was a funny scene. I laughed at him peeking out I34: "It was a funny scene." from behind a wall.”

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I47: “Comedy, Kemal Sunal I38: “It was the emergence films always make you laugh of love. Emotional" a lot.” I65: "Like comedy, it made you laugh." In non-musical version, 42.6% In non-musical version, 40% (n 34) answered horror/thriller, 27.5% (n (n 32) answered comedy, 22) answered comedy, 23.8% (n 19) 26.3% (n 21) answered answered adventure, 5% (n 4) answered emotional, 17.5% (n 14) dramatic, 1.3% (n 1) answered answered dramatic, 12.5% (n emotional, and 1.3% (n 1) answered 10) answered adventure, and other: no excitement. 3.9% (n 3) answered other İ36: “Thriller. He fled with (no impression was created). fear.” İ26: “It was funny, their I48: “Scary, he tried to behaviors, their looks.” escape while the men I63: "There was no comedy chased.” or emotional situation." I54: "It was not too funny I66: "Maybe not very much, without music, but it was still but it was an emotional funny." scene." Music not overshadowing • The slightly comedy with emotional the scenario / characters / weight scene where Kemal Sunal and acting Ayşen Gruda are at the playground 75% (n 60) of the interview (F2S3) created the following emotions in group stated that film music the interview group: did not overshadow the movie/scenes, scenario, In musical version, 45.1% (n characters and acting: 36) felt emotional, 37.5% (n 30) felt I28: "The music is comedy, 12.5% (n 10) felt dramatic, and successful, but it does not 5% (n 4) felt adventure. overshadow the script and İ35: "It was an emotional the actors." scene."

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I44: “Screenplay, actors, The main factor in making especially music are very successful soundtracks good. Balanced." As an artist who composes film I70: “Good actors and a music, Cahit Berkay attributes his good movie. The music is prominence in this field and making a good too, but it does not difference to basically “doing his job overshadow the others.” with love”. Stating that he already had a %25 (n 20), on the other musician identity and a band and an hand, claimed that film orchestra, Berkay states that during the music overshadowed the first periods he composed soundtracks, other elements: he was concerned about failure, but İ22: “Music is more enjoyed it, so that it was possible for him dominant; it overshadows to work in this field for long years, and, the movie.” success came automatically.

3.9. In-depth Interview with Cahit “Like people who are Berkay in Semi-Structured Form successful in every The analysis of the data profession, I did my job with obtained within the framework of a semi- love. Because I was already structured in-depth interview with Cahit a musician, I was making Berkay was carried out under the music with my band and following themes, which were orchestra. Although I had no determined as a result of a detailed dream of making music in examination of the answers to the cinema, once I started this questions:8 work, various offers started to come. While I was worried 3.9.1. The Reason of Cahit if I could do it, I realized it Berkay’s Success in Film Music Sector was actually a very fun job. and The Effects of Making Film This allowed me to love this Soundtracks to His Composer İdentity job and continue it for years.

8 Written opinion form and questions were European University, and Prof. Dr. Faruk Kalkan, revised and finalized based on the opinions of Dean of the Faculty of Communication of Lefke two methodology experts, Asc. Prof. Dr. Ahmet European University. Güneyli from Faculty of Education of Lefke 466

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I think this situation brought ‘what kind of work you are success automatically.” doing’ and they will get it Berkay also emphasizes that back, they won't let you do success passes through understanding the music. That's why if there the expectations of the person (director) is music in the cinema that and the situation (scenario, film in you are asked, you have to general and scenes) very well. He states discover it and make it. that this situation also has effects on his Cinema has such a feature, identity as a composer. and it reveals the ability to produce work for The Effects of Making Film expectations.” Music’s to the Composer Identity Cahit Berkay states that the 3.9.2. The Process of Producing main effect of making soundtrack on Soundtracks composer identity is that he can perceive Making compositions after receiving the expectations and situation of the movie scripts other party (directors) very well in terms Cahit Berkay states that the of scenario, film in general and scenes. songs he composed were not made the Thus, his aspect of working towards soundtrack of a movie afterwards; rather, needs has improved: his work was based on the offers and “Normally, when scripts that came with him: composing, an idea, an “A song I composed didn't emotion, an inspiration later become the soundtrack comes from within. You have for a movie. I always made to sit down and compose; but my music on the scenes or in the cinema, it is necessary movies that were already to make whatever music is produced.” needed by the movie and the scene where the music will Producing Film Tracks be made. Otherwise, it will Berkay lists the soundtrack be more harmful than preparation processes as follows: contributing to the film to be shot. They even can say • Obtaining and reading the script:

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“When you get a job offer, person who makes music, as they give you a script, you well as whether it can affect read the script. In fact, in the the audience or not.” last period, we all sit together, a committee is • Understanding the formed, and desk work on expectations of the director cinema is carried out. But very well: the point is, the person who “After the previous stages, will make the music needs to you solve the movie in your understand what to do. At head, sit with the director. this stage, reading the script The responsibility of the takes the first place.” soundtrack often belongs to the person making the music, • Perceiving the scenario read very well. but you sit with the director In this context, seeing the film which was and try to figure out what the shot, montaged and completed: director thinks, what he “In the second stage, after wants. Music is such a thing, reading the script and such a concept, for example, setting up that story in his give one movie to 10 head, he has to see the movie musicians, and say "make as shot and montaged, music for this movie", you finished. Seeing is important will have 10 different from this point of view: no soundtracks, none of them matter how strong your will be similar. But it is very imagination is, after all you important to perceive the read the script like a book, expectations of the director and everyone creates a in order to do this work picture of their own. But correctly. Because it is the there is a director, there are man who dreams and actors in that story, those realizes that movie, and actors have performances, pours it into the silver and this performance is very screen. The director also has important. It also affects the a musical expectation. It is

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necessary to understand and things that I always have to solve it.” solve. You'll get the rhythm. When you have already • Understanding the psychology and the solved the rhythm, you have rhythm of the movie and the scenes done a very important part of accurately: that scene and the whole “Once you have all these movie. You'll go a long way components in mind, then in making more successful you begin to solve them. music. So tempo is very What is solving is that you important in this business, begin to comprehend and once you find the rhythm, compose the scenes. First you will find a dramatic you imagine the melody fiction for a drama, and a fun setup, and here you put the rhythm for a comedy.” instruments and notes on the paper. You make small • Taking into account the environmental records, then you do the social situations in the movie scenes and orchestration of that work, choosing the instruments accordingly: but the most important thing “For example, in the 60s and in this work is that the place 70s, there was no piano in of rhythm in life is very the countryside, no trumpets, important. The rhythm in no western instruments. life; life that we live has a Rural areas make music with rhythm of its own. You have the unique instruments of to catch that beat in the that region. What are they, cinema. That rhythm they are baglama, cura, depends on the director, how shepherd’s pipe, whistle, the director interprets that darbuka, Turkish reed law, scene, that is, how he picks clarinet. There are revelry it. That tempo, which is instruments, they are all solo definitely a tempo, is slow or instruments. But you when fast, it speeds up or slows come to Istanbul, come to the down in scenes, these are big city, there are rich

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sections and ghettos in the approach of "you know this job, do as city, too. In other words, you wish": there is the segment where the high society lives, and “There are many names, but there is also the section for example Atıf Yılmaz and where the poor and have- Ömer Kavur. These two nots live. Mostly romantic names would not interfere films were made at that time, with me, they would say and the ones which caught 'Cahit you know it, do this the attention of the public job as you know'. I would do most were the stories of Rich it too. We did very successful Girl Poor Boy or vice versa. works together, we made Therefore, Cahit Berkay will very good movies that left a sit and make music, and I mark in the box office.” come across a story scene in the ghetto. What am I doing Some other directors did not there, I use the bağlama, I direct him but made their expectations use lute or qanun, I use the known: instruments that exist in that environment. But let’s take a “For example, there are 17 movie in the Bosphorus, in a Kemal Sunal movies, where I rich house, what are you made one-on-one music with doing there, you are using Kartal Tibet. Either he piano, you are using brought me a script or told accordion, you are using me "Cahit I want these" and saxophone.” I did. In other words, he did not say, "You're going to Freedom vs. director intervention when make music like this," more composing soundtracks like "just a little bit like that." Berkay states that while For example, I made music composing the soundtrack, some for about 200 feature films. directors, with no intervention, show the Over time, you understand

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the director, you learn what 3.9.3. The impact of music on the he could possibly ask for.” success of the movie (box office success and emotional transfer success) He states that some directors The impact of music on the box office were with him all the time in the general success of a movie process when the compositions are made: Cahit Berkay expresses the idea that music may have an impact on the “Some others sat with me film's box office success. However, he from the beginning to the claims that when a film is successful in end; I mean, there are all terms of script, technical team and kinds of directors.” acting, good music will be positive at the box office. If music is made Berkay states that the person to incompatible with the film by a musician be held responsible for the qualification who does not understand the film, a of the film as successful or unsuccessful serious negative result will be created at is always the director and, in this context, the box office. On the other hand, he while the soundtracks are composed, the emphasizes that a movie which fails for directors have the right to intervene to a all other elements can become successful certain extent: by making good music to some extent, “When shooting a movie, all but that all elements should be responsibility belongs to the considered together: director, nobody says “Cahit “Even if you make the most made bad music, and the beautiful music in the world, movie went bankrupt”. a bad movie cannot achieve People say, “the movie is a great success at the box bad”, so the director has the office. But if you make bad right to intervene. The task music on a very well-filmed of a musician is about movie, you screw up that loving, getting to know and movie, that movie can’t do gaining experience.” good business. Of course, in some cases, if you make very good music for a mediocre

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movie, you can lift the movie if there is an excitement in up a little bit, revive it a little the thriller, you put an bit, music has such an effect. exciting music there to Therefore, the task of music double that thrilling sense. is this: music passes to the Music is already used in story, actors, and from there cinema in this sense, to make to the audience. Of course, the scenes pass stronger to this is a teamwork, involving the audience. This is the the lightman, cameraman, description of this work as I soundman, director and understand it. And when it is many more. There is also done in this way, it definitely music among these elements, affects the box office and if all of these people do success.” their job well, you will be successful if you do your job 3.9.4. The impact of music on the well, too. I'll explain it with a transfer of emotions by music model like this. The good Berkay states that soundtrack music is this: a dramatic influences the emotion transfer of a scene, the audience movie very seriously. According to watching the movie is sad, Berkay, this effect is so great that the but they do not shed tears. proposal to make soundtrack mainly But you make such a music comes to the musician to support the there that you get a beat of transfer of emotions: the eyes, that is, you strengthen the effectiveness “So much, so impressive, of that scene and its transfer that it has such a big effect to the audience. Likewise, in that the musician already comedy movies, the scene exists for it. That's why the makes the audience laugh, musician is offered to make but you make such a music music for that movie. Music there that people will burst is such a thing that it into laughter. The thriller significantly supports and scenes are exactly the same, strengthens the transfer of

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emotions in those scenes. needed," because the voice is This of course depends on used as a music in the the right person doing that cinema. Therefore, it is job. The right music must be necessary to use it properly made so that the emotion in and appropriately. In that scene is supported, and addition to bad music, even conveyed correctly.” unnecessary use of music may be more damaging.” On the other hand, Berkay stated that there are directors who use the 3.9.5. The Situations That Music music very little and achieve success in Dominating Films the world cinema and emphasizes that Berkay states that there are some directors use unnecessary music situations in which soundtracks are more and that this situation should be paid prominent than movies. Especially, attention: during the Yeşilçam period of Turkish “For example, there are Cinema, it is expected that music some movies with no music. overshadowing the movie is expected, The man establishes such a but that this structure has changed today. script that it does not need Berkay states that this situation may any music, this is of course a bring more harm than benefit to the very ambitious job, but there movies. are also successful films shot “Yeşilçam period and the that way. They use very little present period are very music in world cinema. But different. I made a quick there are some directors, introduction to this work they love music and want without reading the school music from almost the for this. One of the most beginning to the end. But important producers of that there are some directors who period, brother İrfan, the prefer to use music very owner of Akın Film, İrfan little. In other words, "These Akın always said to me, scenes of the movie I shoot "Cahit will make such a are strong, no music is music that when people

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leave the movie, that is, they On the other hand, Berkay will come out whistling its states that the success of music music after the movie ends". significantly supports both the box office In other words, very and the film's success: dramatic, striking and “On the other hand, there catchy music was desired. are many films associated Later, I realized that this is with music both in world not too right. From time to cinema and in Turkey. time, the music you make Whether it's musicals in the overshaddows a scene. Then world cinema, or İbrahim music crushes that scene, Tatlıses, Müslüm Gürses, that is, it will damage it Orhan Gencebay films in rather than benefiting it. Turkish cinema, these are People listen to music more films made only on a song. than watching movies. That There are cinematic is, instead of watching with elements, dramatic scenes, eyes and ears, people listen but the audience wants to to the movies only with their watch that singer there. They ears, which is not a right want to hear his voice and thing to do. In the following see him only as a painting years, I even said that that is shown in the cinema. “music should know its Incredible box office records limits in cinema.” What is it were broken by those films, to know its limits, it will be in and there is such a method in its place, it will be as much cinema. If we leave the as the place reserved for it. singer movies aside, the Of course, you cannot draw effect of the music on the this place on paper with a cinema films that also aim pencil, it is up to the for artistic success affects composer, it is about both the box office and the understanding and solving quality of the film. As an it.” example, when I was in my 10s, a movie called Avare

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came to Turkey and took the entire country by storm. 4. FINDINGS There was a song in it, an In the study, data were obtained Indican movie which within the framework of structured in- corresponds to the 50s and depth interviews conducted with a 60s. In those times movies sample of 80 people (interview group) with Indian and Arabic tunes after film demonstrations and semi- began to come to Turkey. In structured in-depth interviews with Cahit this period, music had Berkay. The findings obtained from the created a strange doping evaluation of these data by content effect in cinema.” analysis are as follows:

Normally; 23; 29% Frequently; 32; 40%

Very Frequently; 25; 31%

Fig. 1. Frequency of watching movies

The interview group watches (n 23) ratio. In this framework, the movies frequently (every day, once) at interview group consists of individuals 40% ratio (n 32), very frequently (every who have an active movie watching day, more than once) at 31% (n 25) ratio, habit. and normally (4-5 times a week) at 29%

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80 67 83.3% 70 54 50 60 67.5% 62.5% 50 37 46.3% 40 30 20 10 0 Ratio Acting/Actors Music Visual Effects

Seri 1

Fig. 2. The elements that create an impact on cinema

As regards the elements that mentioning of music, which is higher create an impact on cinema, the than an indispensable element of our interview group mentioned the movies such as visual effects and very story/scenario at 83.3% ratio (n 67), close to another important element such acting/actors at 67.5% ratio (n 54), music as acting / actors, emphasizes the at 62.5% ratio (n 50), and visual effects importance of music in movies. at 46.3% ratio (n 37). Particularly, the

Necessary; 24; 30%

Absolutely Necessary; 56; 70%

Fig 3. Importance of Music using in Movies

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When the importance of music music at 70% ratio (n 56), whereas 30% in cinema without presence of other (n 24) stated that using music is partially elements is questioned, the interview necessary and that they could sometimes group stated that using music in movies watch movies without music. This is absolutely necessary and that they did situation reinforces the importance of not prefer watching movies without soundtracks.

Normal; 11; 14% Very High; 36; 45%

High; 33; 41%

Fig 4. Music’ impact on the success of movie

As regards the function of and that the music had a high impact at soundtracks, the interview group stated 41.3% ratio (n 33). These proportions that music had a very high impact on the show that music has a very high/high success of movies at 45% ratio (n 36), impact on the success of movies.

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Rarely; 17; 21%

Definitely ; 63; 79%

Fig. 5. Obtaining the soundtrack after watching movie

As regards obtaining the high percentage of the interview group soundtrack after watching the movie, acquired and listened to movie 78.8% (63) stated that they would soundtracks after the movie, it also definitely obtain it whereas 21.3% (n 17) shows that music also contributed to the stated that they would rarely find and promotion of the movie. listen to the soundtrack. This reveals that

Not Affecting; 16; 20%

Affecting; 64; 80%

Fig. 6. Affecting by 1 or more Scenes owing to Music

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76% (n 64) stated that, as a reveals the function of the soundtrack to result of film music, they were affected make an impact and to focus to a degree by 1 or more scenes which they would that will affect especially the 18-25 age not normally be affected. This situation group.

Reinforcing the Emotions 70 Not Affected %92.1 Affacted 4 76 5% %95 Weaking the Emotions 6 %7.9

Fig. 7. Music’ Transfer of the Emotion Function

It is stated by 92.1% of the conveys the right emotions is also found participants (n 70) that the soundtrack of in the study on the interview group. the movie / scenes is very important in Table 1 contains the emotions / types of the transfer of emotions. In this context, emotions that 3 scenes each from 2 it is concluded that soundtrack is an movies (6 in total) aim to create in the important tool that transfers and / or audience, and the emotions / types of supports the emotions that the film / emotions that occur in the audience in scenes want to give. musical and non-musical versions: The argument that soundtrack not only conveys emotions but also

Table 1. Comparison of emotions emerged between musical and non-musical versions Scene The aimed emotion Emotion in musical Emotion in non-musical version (The two answers version (The two answers with highest frequency) with highest frequency) F1S1 Emotional/Light %52,5 (n 42) emotional %37,5 (n 30) horror/thriller comedy %21,3 (n 17) comedy %18,8 (n 15) comedy

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F1S2 Emotional %62,5 (n 50) emotional %30 (n 24) dramatic %16,3 (n 13) dramatic %26,3 (n 21) emotional F1S3 Emotional %71,3 (n 57) emotional %41,3 (n 33) dramatic %25 (n 20) dramatic %36,3 (n 29) emotional F2S1 Comedy/Light %57,5 (n 46) comedy %47,5 (n 38) horror/thriller emotional %21,3 (n 17) emotional %23,7 (n 19) comedy F2S2 Comedy %68,8 (n 55) comedy %42,6 (n 34) horror/thriller %17,5 (n 14) adventure %27,5 (n 22) comedy F2S3 Emotional/Light %45,1 (n 36) emotional %40 (n 32) comedy comedy %37,5 (n 30) comedy %26,3 (n 21) emotional

It can be seen that the emotions damage it, such a situation is not that are desired to be created in the preferred by the musicians and the works audience and given in the scenes can be are carried out in that way. This reveals quite different when there is no music. that Cahit Berkay has carried out the Even emotional or romantic scenes can related works with a high level of care as create a horror / thriller effect. This stated. reveals that music has the function of Cahit Berkay emphasized that transferring the right emotions. his main starting point is connected with Finally, the idea that music does “doing his job with love” by showing not overshadow the movie (screenplay, such care and composing very successful actors / acting, etc.) found a 75% (n 60) soundtracks. In the framework of response in the interview group. It is emotional commitment to the profession important that such effective music does as an important factor in this direction, not overshadow the film and stand out Berkay's argument is found meaningful more than the movie. This situation is in terms of achieving success. also related to the fact that the relevant Cahit Berkay lists the stages for films, which can be accepted as a cult, a successful soundtrack as follows: (i) are successful in terms of scenario, obtaining and reading the script, (ii) actors and acting. However, as Cahit perceiving the script very well and Berkay emphasized, due to the fact that watching the full version of the film music overshadowing the film would within this framework, (iii)

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understanding the director's expectations study applied to the interview group very well, (iv) understanding the moods overlap (Table 1). and tempo of the movie / movie scenes correctly, and (v) choosing an instrument 5. CONCLUSION AND taking into account the environmental - RECOMMENDATIONS social conditions of the scenes. The As a result of the study, it has accuracy of these stages and the opinion been determined that the music used in that Berkay had an important influence movies has an important effect on on the success of the film also found a conveying the emotions and the situation response within the framework of the in the current scene to the audience approach of the interview group (86.3%, correctly. In the non-musical versions of n 69); in that respect, the soundtracks the movie sections watched in the part of composed by Berkay was found the study using the measuring tools, the successful and contributing to the viewers had a contradiction about the success of the movies. real feeling desired to be conveyed. In Berkay's approach that music contrast, it was observed that they has an effect on the promotion of the film perceived the true emotion that is desired has also been found within the to be conveyed in the musical versions. framework of the interview group's There is an even more extreme example approach to obtaining the soundtrack of this situation: in some non-musical after the film (78.8%, n 63). versions, comedy scenes were perceived Berkay's approach that film as horror, emotional scenes as comedy. music has an important role in the When the same scenes are played with transfer of emotions and that the choice music, the feeling to be conveyed was of musicians is made within the formed correctly. This reveals the framework of this matter also coincides importance and functionality of the with the opinion in the interview group emotion transfer and correct emotion that the function of music is quite high transfer functions of music in movies. (87.5%, n 70). On the other hand, another Finally, with Berkay's approach important function of using music in that soundtrack has function of correct movies is to enable viewers to be transfer of emotions, the results of the affected by the scenes that they would not normally be affected by, and to focus

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on the movie. It was determined that they compose, (ii) reflecting the emotions were felt more enthusiastically harmonic and rhythmic structure of the and intensely when the visual and compositions in the best way, and auditory integrity was achieved. reflecting the emotion that is desired to Another important aspect is that be conveyed, (iii) following the music plays an important role in the developing technology and changing promotion of the movies. social conditions on a day-to-day basis, As a result of the interviews and not being outdated, and (iv) conducted with the well-known analyzing the direction of the film's musician and Turkish Cinema concerns and composing their works in soundtrack composer Cahit Berkay, it line with the light of the directors and was determined that composing screenwriters. successful music to the films depends on For future scientific studies, it is the elements of a detailed study, recommended to examine the effects experience, dedication, and created by the soundtracks, especially comprehending the emotion to be within the framework of psychology, and transferred. While it is important that to carry out studies focusing on Cahit music does not get overshadowed by the Berkay, who comes to the fore with his scene it is used, it is also very important identity as a musician and a soundtrack that it does not overshadow the scene, composer. which is a lesson to be learned in order to be a "good composer". References On the other hand, soundtracks Artıkay, G., G. (2017). Effects of also have a significant impact on the box Postminimalist Music School in Film office and overall success of movies; Music, Istanbul Technical University successful soundtracks play an important Institute of Social Sciences Musicology role in increasing the film's box office and Music Theory Department return and overall success. Musicology Program, Unpublished In the light of the conclusions Master Thesis. reached in the study, the following are Baysal, O. (2014). Aristoxenos’s recommended for musicians who will understanding of Music Science. compose film music: (i) maintaining the International Refereed Social Sciences balance between the scenes and music E-Journal, 46, 62-83.

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