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Having learned how to read notes, methods and modes from the precious masters of the period, Müzeyyen's teachers Mrs Hayriye Örs and Mr Kemal Niyazi brought her to the Radio House, and she was introduced to the microphone that she would never let go of with her unique attitude throughout her life. As a result of her outstanding performance in her first gig, it was decided to make a half-hour program every Thursday in 1932.


İbrahim Dervişzade, the owner of the 10th Year Belvü Casino, one of the most important music halls of Istanbul, who listened to Müzeyyen on a radio program, also took Müzeyyen to the stars program of the summer season of 1933. And Müzeyyen continued to perform in other famous casinos in Istanbul in the following years. In order to take the stage, she was the first artist to start a soloist venture in Turkish casino history with the "solo" condition that she brought. Her reputation was increasing day by day. Despite her young age, she was fascinating those who listened to her by her unique attitude and unique voice in the nightclubs that she appeared in. Her unique mise-en-scènes were as attractive as the attention to her voice. There was a new style on her stage and a new attitude in her singing. She was maturing at the casino, growing up with her records, becoming the love of the people. Although Hamiyet Yüceses and Safiye Ayla, the most famous voices of that time, were ahead of Müzeyyen in terms of record numbers and sales, Müzeyyen was unrivaled in her own lane. She recorded her first phonograph disc in 1933. Her first work was the song that Yesari Asım Arsoy titled "My hopes are always lost, my lover will not come anymore". Every new piece of work that she performed on the stage was immediately being recorded, and her singing style was highly appreciated by the public. 

It was almost impossible to find a place in the nightclubs where she performed. Senar's house was also frequented by artists, musicians, poets, writers, and businessmen. One of the regulars was the painter Çallı İbrahim, who warmed and raised his passion for art in his heart and radiated warm lights around him, and the other one was Neyzen Tevfik, the composer of taksim and saz semai. They seemed to represent another realm. Neyzen used to sit in a corner at unexpected times and take his Ney out. Each time he started blowing, the notes would find another spirit. Müzeyyen also served in this moment and accompanied Neyzen with a folk song. It was the moments when she felt herself in the sky.

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