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.

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