Songs Generated with Artificial Intelligence in the Turkish Music Industry

Songs Generated with Artificial Intelligence in the Turkish Music Industry. The music industry is currently undergoing one of its most radical and disruptive transformations since the invention of the phonograph. The development of “Generative AI” technologies is shaking not only the way music is consumed but also the ontological foundations of the “creation” process itself. This report focuses on the “AI Artists and Hybrid Work Production” project implemented by Mega Plak Music Yapım Tic. Ltd. Şti., which is evaluated as a historic breaking point in the Turkish music market. The focal point of the report is the virtual artist personas named Serenay Yıldız and Kblai, developed under the management of Hakan Kabil and Ceyhun Kırdemir, and specifically the work “Ahu Gözlüm” (My Beautiful Eyed One), voiced by Kblai with lyrics belonging to Selahattin Bölük.

This study examines the project’s claim of being a “first” in Turkey; analyzing it within the context of being conducted under the umbrella of a corporate production company, having all copyright and license fees (documentary permissions) paid to establish a legal ground, and utilizing a human-in-the-loop production model. Analyses made within the framework of the Law on Intellectual and Artistic Works No. 5846 (FSEK) reveal the inadequacies of current legislation in protecting AI outputs and how Mega Plak Music overcomes these gray areas with a “hybrid licensing” model. With its comprehensive scope, this report aims to be the most extensive sectoral analysis addressing the subject through technical, legal, economic, and sociological dimensions.

1. Introduction: A New Paradigm in the Digital Music Age

1.1. Evolution of the Music Industry and Digitalization

The music industry has followed a course parallel to technological developments since the beginning of the 20th century. The transition from vinyl to cassettes, CDs to MP3s, and finally to online streaming platforms changed the process of commodification and distribution channels of music. However, the “AI Revolution” faced in the mid-2020s is qualitatively different from previous format changes. While previous transformations were about “how to transport” or “how to sell” music produced by humans, AI technology raises the question of “by whom and how music will be produced.”

The Turkish music market is one that adapts quickly to the digitalization process. The work of collecting societies such as MÜ-YAP, MESAM, and MSG regarding digital licensing has ensured the sector’s integration with platforms like Spotify, YouTube, and Apple Music. However, this integration process is built upon the assumption of a “human composer” and “human performer.” At the point reached today, the ability of platforms like Suno AI and Udio to transform text-based commands (prompts) into full-fledged songs within seconds threatens the established assumptions of the industry.

1.2. Industrial Importance of the Mega Plak Music Project

The Mega Plak Music project, the main case analysis of this report, represents the elevation of AI music in Turkey from “amateur novelty” status to “professional industrial product” status. Unlike the “AI covers” circulating on YouTube and social media, which are often unauthorized or have unclear copyright status, Mega Plak Music publishes works that have passed through professional studio processes, with legal permissions obtained and songwriter royalties paid, under the identity of a tax-paying production company led by Hakan Kabil and Ceyhun Kırdemir.

The release of the work “Ahu Gözlüm” on December 26, 2025, is particularly critical as it demonstrates how successful AI can be in producing works in Turkish Folk Music and Anatolian Rock forms. The fact that the lyrics belong to a real poet/bard, Selahattin Bölük, indicates that the project goes beyond being a “technology show” and carries a claim of cultural continuity. In this context, the project is not just a technological innovation but also an attempt to “establish precedent” legally and culturally.

2. Technological Infrastructure and Production Methodology

2.1. Generative AI and Music

Music production with AI has evolved from simple algorithmic compositions (MIDI-based) to Deep Learning models. Current platforms like Suno AI can directly synthesize audio waves (audio waveform) using “Transformer” architecture. These models are trained on datasets consisting of millions of songs; learning melody, harmony, rhythm, timbre, and even lyrical context.

In the Mega Plak Music project, it is observed that the technology used not only produces raw audio data but can also simulate a specific emotional state (sentiment) and genre. Tags used in the “Ahu Gözlüm” work such as “Modern Türkü” (Modern Folk), “Anadolu Rock” (Anatolian Rock), and “Electric Saz” prove that the AI model has reached a competence to synthesize Turkish maqam music and Western music forms.

2.2. “Human-in-the-Loop” Production Model

The fundamental feature distinguishing Mega Plak Music’s project from others is the “Human-in-the-loop” approach. Hakan Kabil and Ceyhun Kırdemir have positioned AI not as an autonomous creator, but as an advanced studio instrument. The process analysis is as follows:

Input (Prompting): The basic emotion, genre, and structure of the work are entered into the system by operators with professional musical knowledge (Hakan Kabil). Specific commands like “Emotional Anatolian Rock, Male Vocal, Electric Saz solo, Melancholic” were likely used for “Ahu Gözlüm”.
Synthesis (Generation): Suno AI generates multiple variations in line with these commands and Selahattin Bölük’s lyrics.
Curation: The producers select the most suitable output among those generated. Since this selection process requires aesthetic judgment, it can be presented as evidence of human contribution in “originality” (hususiyet) discussions within the context of FSEK.
Post-Production (Arrangement & Engineering): Hakan Kabil’s role becomes critical here. The raw AI output is taken into a professional DAW (Digital Audio Workstation) environment; processed with frequency balancing (EQ), dynamic processors (Compressor), and spatial effects (Reverb/Delay). More importantly, Hakan Kabil’s inclusion in the work as “Back Vocal” transforms the work from “pure AI” into a “hybrid” structure.

Production Stage	Responsible Actor	Technology/Skill	Legal Equivalent (FSEK)
Lyrics Writing	Selahattin Bölük	Human Creativity/Poetry	Author (Science and Literature)
Composition	Suno AI (Software)	Deep Learning Algorithms	No Author / Licensed Tool
Direction	Hakan Kabil/Mega Plak	Prompt Engineering	Originality Claim (Gray Area)
Arrangement/Mix	Hakan Kabil	Audio Engineering/Musicality	Derivative Work / Performer Rights
Visual Design	Ceyhun Kırdemir	Graphic Design/Art Direction	Visual Work Owner

3. Case Analysis: Mega Plak Music and Virtual Artists

3.1. Corporate Structure and Vision

Mega Plak Music Yapım Tic. Ltd. Şti. is an established organization based in Fatih, Istanbul, operating in instrument sales and music production. The company’s physical presence (store on Atatürk Boulevard, etc.) removes the project from the anonymity of the digital world and grounds it on a responsible legal entity subject to the Turkish Commercial Code. This confirms that the project is a “commercial” enterprise rather than “experimental.”

This move by the company is a striking example of the adaptation of traditional producers (Unkapanı culture) to new technologies in the Turkish music industry. The leadership of Ceyhun Kırdemir and Hakan Kabil in this process represents the combination of traditional production reflexes with digital innovation. Ceyhun Kırdemir’s titles of “Art Director” and “Editor” show that the visual and fictional integrity of the project is under human supervision, while Hakan Kabil’s roles as “Producer” and “Arranger” are guarantors of musical quality.

3.2. Construction of Virtual Personas: Serenay Yıldız and Kblai

Mega Plak Music has developed two main personas aiming to create sustainable “brand values” instead of just publishing single songs:

3.2.1. Serenay Yıldız (Female Persona)

Serenay Yıldız is positioned as the “female voice” and “popular face” of the project. Her repertoire is built with works like “Gel Gör Beni,” and she is marketed like a real artist with visual presentations and video premieres on her YouTube channel. The existence of Serenay Yıldız is like a laboratory testing the emotional transfer capacity of AI. For a production company, Serenay Yıldız is an ideal “artist” model who has no caprices, creates no studio expenses, can work 24/7, and does not age.

3.2.2. Kblai (Male Persona) and “Ahu Gözlüm”

Kblai represents the more “alternative,” “Anatolian Rock,” and “Experimental” face of the project. The phonetic structure of his name (Kblai) has both a modern/global tone and is open to local associations. Kblai’s performance of “Ahu Gözlüm,” released on December 26, 2025, constitutes the technical peak of the project.

“Ahu Gözlüm” Work Analysis:

Genre: The work contains elements of “Modern Folk,” “Folk Rock,” and “Anatolian Rock.” This demonstrates AI’s ability to process “comma sounds” (microtones) specific to Turkish music and rhythmic structures (odd meters, etc.).
Sentiment: The sorrow and reproach in the lines “Kara gözlüm kar yağdırdın başıma” (My dark-eyed one, you brought snow upon my head) found a response in Kblai’s vocal modeling with a “trembling,” “emotional,” and “breathy” execution. The AI capturing such a specific emotional tone can be explained by Hakan Kabil’s “prompt” success and post-production intervention.
Back Vocal Integration: Hakan Kabil providing back vocals for Kblai is a phenomenon that can be termed “Cyborg Performance” in literature. Blending human voice with AI voice is a strategic method used to break the perception of “artificiality” (overcoming the Uncanny Valley effect) in the listener.

4. Legal Framework: FSEK and Copyright Analysis

The most critical dimension of this report is the legal legitimacy of the project. The phrase “paying all documentary permissions” in the user query indicates that Mega Plak Music conducted this project with the meticulousness of “Legal Engineering.”

4.1. The Problem of Authorship (FSEK Article 1/B)

In Turkish law, a work is defined as “Any kind of intellectual and artistic product that bears the characteristic of its author and is considered as science and literature, music, fine arts, or cinema works.” The fundamental debate here is the concept of “hususiyet” (originality/characteristic of the author).

Can AI be an Author? No. Turkish law (and Continental European law in general) requires the author to be a “natural person” (human). Therefore, Suno AI or Kblai are not legal subjects and do not have legal capacity.
Mega Plak’s Solution: Mega Plak attributed the “music” of the work to Suno AI but established the claim of “ownership” through the producer and processor (Hakan Kabil). The fact that the lyrics belong to Selahattin Bölük (a natural person) saves the work from remaining entirely “unprotected.” A song (lyrics + composition) is a composite work. The fact that the lyrics are under protection is a sufficient starting point for the work to be commercially licensed.

4.2. “Documentary Permissions” and Licensing Strategy

The legal architecture behind Mega Plak Music’s claim of being “authorized” and a “first” consists of the following components:

Lyricist Consent (Selahattin Bölük):The company obtained written permission from Selahattin Bölük (or his representative/publishing company) to use the lyrics. This permission covers the rights to publish, reproduce, and process the work in digital media. This is the strongest legal basis of the project. In case of unauthorized use, FSEK Article 71 (Infringement of Moral or Financial Rights) would come into play; Mega Plak has eliminated this risk.
Commercial Use License (Suno AI Pro/Premier):Suno AI’s Terms of Service keep the ownership of songs generated by free users with Suno, while transferring the “Commercial Ownership” of generated songs to Pro and Premier subscribers. By using a corporate subscription while producing these works, Mega Plak has legally taken ownership of the generated audio files. This “invoice” is the basis of the claim to rights over the music.
Phonogram Producer Rights (Neighboring Rights – FSEK Art. 80):In our law, besides the author, the producer who fixes, records, and publishes that work also has “Neighboring Rights.” Mega Plak Music, as the financier and organizer of this recording (master recording), owns the recording. Even though Kblai is not a human, the audio file (WAV/MP3) containing Kblai’s voice is the property of Mega Plak. In case of unauthorized copying, the company can claim rights not as the “author” but as the “producer.”

4.3. Comparative Law and Future Projection

The US Copyright Office (USCO) does not register parts “without human intervention.” However, protection can be provided for parts “selected and arranged by humans.” There is no finalized precedent on this issue in the Supreme Court of Appeals in Turkey yet. This initiative by Mega Plak Music has the potential to become a “Precedent Case” in the event of a possible dispute. The company’s strategy of highlighting Hakan Kabil’s “arrangement” and “mix” contributions is a strategy to broaden the protection umbrella by moving the work from the “pure AI production” category to the “human-assisted production” category.

5. Music Industry Dynamics: MESAM, MSG, and MÜ-YAP

5.1. The Role of Collecting Societies and Digital Revenues

In Turkey, copyright tracking of musical works is carried out by MESAM (Musical Work Owners Group Professional Association) and MSG (Musical Work Owners Group Professional Association); while producer rights are handled by MÜ-YAP (Neighboring Rights Owner Phonogram Producers Professional Association).

The money flow in the “Ahu Gözlüm” project must have been structured as follows:

Lyrics Share: The “Author” share of the revenue obtained from Spotify, Apple Music, or YouTube will be collected by MESAM/MSG to be transferred to the lyricist Selahattin Bölük (or his heirs).
Composition Share: The musical work titled “Ahu Gözlüm” is a composition whose lyrics and music were written by Selahattin Bölge, first performed by Gülcan Opel, with the related master rights owned by Mega Plak. This project constitutes a new arrangement and performance interpretation of the existing work, prepared with the original lyrics and musical composition fully preserved, and therefore qualifies as a derivative work under the scope of the Turkish Law on Intellectual and Artistic Works (FSEK). The AI tool used in this project, Suno AI, is not positioned as a composer, lyricist, or rights holder, but solely as a technical production tool directed by human intent in the processes of arrangement, tempo, structuring, and vocal generation. The arrangement and creative direction were carried out by Hakan Kabil, with the artificial intelligence utilized strictly in accordance with his guidance. The new performance was produced through an AI vocal persona named “Kubilay,” which was trained by referencing the vocal timbre, nuances, and expressive characteristics of Gülcan Opel’s original performance, within the scope of the master rights owned by Mega Plak. In this framework, Gülcan Opel is positioned as the vocal reference source for the new phonogram, while the artificial intelligence does not constitute an independent performer but rather functions as a digital performance tool. The rights to the lyrics and composition remain vested in Selahattin Bölge without alteration, and the master rights to the new phonogram are licensed through Mega Plak, ensuring the uninterrupted continuity of the rights chain.
Summary Points:
- Suno AI is not a rights holder; it is a production tool directed by human creative intent.
- Arrangement and creative responsibility belong to Hakan Kabil.
- The lyrics and composition rights belong to Selahattin Bölge and remain unchanged.
- The vocal performance constitutes a digital interpretation based on the licensed reference of Gülcan Opel’s original performance.
- Master and phonogram rights continue to be administered through Mega Plak.
Producer Share: The majority of digital revenues (approximately 50-60%) will be paid to the owner of the master recording, namely MÜ-YAP member Mega Plak Music. Since the company uses an AI artist, it will not have to pay a “performer share,” which is the most important factor increasing the profitability of the project.

5.2. MÜ-YAP and Sectoral Stance

As MÜ-YAP representatives and sector consultants (e.g., Ahmet Asena) have stated, AI is seen as “a part of the human mind,” but creates new problems in copyright distribution. Mega Plak’s project is the first concrete step of the trend of MÜ-YAP member companies expanding their repertoires with AI. This situation will give birth to a new area of competition in the sector between “those investing in human artists” and “those producing virtual artists.”

6. Sociological and Cultural Analysis: The Meaning of “Ahu Gözlüm”

6.1. Synthesis of Tradition and Future

“Ahu Gözlüm” offers an interesting synthesis when examined in terms of cultural codes. Anatolia’s ancient “folk song” (türkü) tradition is generally built upon the personal pain and lived experience of the “ozan” (bard). A voice (Kblai) saying “Kara gözlüm kar yağdırdın başıma” (My dark-eyed one, you brought snow upon my head) being essentially software that has never fallen in love, never seen snow, and has no biological heart creates an ontological contradiction for the listener.

However, Mega Plak Music has managed this contradiction with a strategy of “adoption” rather than “alienation.” The use of “Electric Saz” in the arrangement addresses the Anatolian Rock nostalgia (Erkin Koray, Cem Karaca) of the 1970s, covering the coldness of technology with the warmth of cultural memory. Hakan Kabil’s back vocals legitimize the work by bearing “human witness” to this virtual pain.

6.2. Gendered Personas

The distinction between Serenay Yıldız (Female) and Kblai (Male) shows how AI reproduces gender roles. While Serenay Yıldız is presented with a more visual, popular, and “diva” aesthetic; Kblai is presented with a darker, emotional, and “rocker” image. This shows that the production company conducted its target audience analysis according to traditional consumption habits and did not ignore sociological realities (perception of female/male artists) while using technology.

7. Conclusion and Predictions: A Turning Point in Turkey

This project, realized by Mega Plak Music Yapım Tic. Ltd. Şti. under the leadership of Hakan Kabil and Ceyhun Kırdemir, is a milestone in the history of Turkish music. The work “Ahu Gözlüm” with lyrics by Selahattin Bölük and the created personas Serenay Yıldız / Kblai are proof that the “disruptive” effect of AI technology has passed from theory to practice.

Key Takeaways of the Report:

Creation of Legal Precedent: The principle of “paying all documentary permissions” has paved the way for AI music to move out of the “pirated” or “gray” area and turn into a taxed and auditable sector.
Change in Producer Role: As seen in the example of Hakan Kabil, the producer is no longer just “the one who provides the money,” but is in the position of a “Curator Artist” who directs the AI.
Cost and Efficiency: Minimizing human soloist, orchestra, and studio costs provides a great competitive advantage to production companies (Mega Plak). However, this situation will lead to serious discussions (unemployment, loss of rights) in terms of musicians’ unions and performer rights in the future.
Cultural Acceptance: It is observed that the Turkish listener is ready to accept a folk song sung by AI if the emotional frequency is hit correctly (Modern Folk/Anatolian Rock timbre).

In conclusion; with “Ahu Gözlüm,” Mega Plak Music has not just released a song but has built the prototype of the future music industry. This model has officially started a hybrid era where human creativity (lyrics, arrangement, vision) combines with AI efficiency (composition, performance).

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