Recently Turkish (pop) music historiography has changed. Inside and outside Turkey, there has been an English turn in Turkish music studies: for a few years now, a new wave of Turkish musicology scholars has published its research in English, participating for the first time in a global, English-dominated discourse about music and music history (which is language-wise, of course, a colonial heritage). Gedik even writes about his own fundamental book Made in Turkey “that such a comprehensive collection [of articles dealing with music from Byzantine times until today] does not even exist in Turkish” (Gedik, 2018, p. xv).
Scholars from Turkey participating today in the global music discourse allow for the same discourse to take new perspectives on Turkish music history, with a lot of up to now not well known information entering it, being debated and developed further, opening also new – decolonial – perspectives on Turkish music history and historiography.
These perpectives include for example a Balkanization of Turkish music. A rare and surprising early historic example for the Balkanization of Anatolian rock is the former Yugoslavian record mini-series Prva Muzička Balkanijada 1 & 2 (1964), including early Anatolian rock singers Erol Büyükburç and Tanju Okan.
