The treatment of Turkish music and especially Turkish pop in the Federal Republic of Germany has been characterized by various mechanisms of demarcation since the 1960s - that is, since the arrival of a strong Turkish presence due to the recruitment agreement. In this chapter, we would like to explore the questions of where these mechanisms take effect, by whom they are argued and in what ways, as well as how they have changed over the period from the 1960s to the present. Since demarcation is not a purely musical phenomenon, but has to take related social aspects into account, we will first look at the phenomena of social and cultural demarcation in German society, especially with regard to migrant communities. Subsequently, we pursue a series of core questions concerning Turkish music and its audience, its musical functions and the music market, as well as the respective evaluations of Turkish music in Germany. Answers to our core questions led to a critique of the music-related aspects of German migration policy and the institutional treatment of Turkish music in Germany. One of the biggest problems, from our point of view, which is clearly shown by the phenomenon of self-exclusion, is the lack of discourse, historiographical transmission and structured access to migrant cultural expressions. Using a discourse-analytical approach that draws primarily on statements from politics, academia, journalism and musical practice, this chapter analyses the workings of the mechanism that has excluded Turkish music throughout the decades. [ABSTRACT FROM AUTHOR]