3. Conclusion
| The gazino provides a common denominator for a
clientele of Alaturka and Arabesk domains
of music-making in an Alafranga space. Thus,
the aesthetics of gazino consumers are especially
reflected in the show, not the visual aspects of the
space. Gazino musicians furnish the music
according to what they suppose the audience’s taste
demands. Musicians themselves become an audience in
the back stage, and through a complex set of reactions,
or not reacting at all, shape the aesthetics of music.
The gazino owner, on the other hand, holds direct
power over the show. When and if he makes changes
in the show, they are usually based on the audience
reaction. The advent of television and economic fluctuations since the 1970s caused a steady decline for the business of gazino. The glamorous large gazino-s of the mid-twentieth century Istanbul disappeared (12). Instead, smaller restaurant types specializing on specific genres replaced these large businesses. The aesthetic of gazino still holds a significant place in a variety of artistic domains, the most significant of which includes the private television industry. In Turkish art music traditions and other government supported organizations members make references to the gazino aesthetic as undesirable and use the term in pejorative contexts. The new generation, however, seems to have developed a new appreciation for the historical gazino and the legendary gazino performers of the twentieth century are given a renewed attention. |