Müzikal uyumun inşasında alternatif bir yaklaşım: Erkan Oğur'un müzikal algısında perdesizlik kavramının değerlendirilmesi
An alternative approach in the construction of musical harmonia; evaluation of the consept of fretless platform in Erkan Oğur's musical perception
- Tez No: 642871
- Danışmanlar: PROF. DR. NİLGÜN DOĞRUSÖZ DİŞİAÇIK
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2020
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Müzikoloji ve Müzik Teorisi Ana Bilim Dalı
- Bilim Dalı: Müzik Teorisi ve Kompozisyon Bilim Dalı
- Sayfa Sayısı: 101
Özet
Tarihsel bir sorgulama yapıldığında müzik olgusunun çeşitli kuramsal zeminler bağlamında ele alındığı görülmektir. Müzikal üretimin adreslerinin spekülatif yaklaşımlara yönlendirilmiş olması çağdaş eleştirel düzlemde müziğin özerkliği problematiğini gündeme getirmiştir. Söz konusu eleştirel perspektif çerçevesinde değerlendirildiğinde müziğin araçsallığının vurgu noktası haline geldiği düşünce sistemleri tarihsel bir incelemenin konusu haline gelmektedirler. Tez çalışması öncelikle bu anlamda, müzikal yaratımda uyumun başrol konumuna sahip oluşunu ve bunu gerçekleştirirken teorik yaklaşımlarla nasıl irtibat kurduğunu irdelemektedir. Bu doğrultuda birinci bölümde, düşünce tarihinin çeşitli kırılma noktalarının, Tanzimat Dönemi ve Cumhuriyet Türkiye'sinin toplum-birey düzlemlerinin müzikal algılarıyla gerçekleştirmiş olduğu ilişki demetleri üzerinde durulmuştur. İkinci bölümde, bahsi geçen düşünce tarihinin çeşitli kırılma noktalarının algısal düzlemlerinde biçimlenen referans ses sistemleri ve bu sistemlere ait bazı teknik detaylar, ait oldukları dönemlerin düşünsel zeminleri ile ilişkilendirilerek anlatılmaktadır. Bu irdeleme dahilinde, Pisagor (M.Ö. 570-495), Aristoksenos (M.Ö. 360-300), Batlamyus (M.S. 90 - 168) ve Zarlino'nun (1517-1590) perspektiflerinden müzik tanımlamaları ele alınmış, Pisagor dizisi, doğal dizi ve tampere gibi yaratımların işlevselliği tartışılmıştır. Üçüncü bölümde ise, Aydınlama ve dahilinde Ulus Devlet söylemleri çerçevesinde şekillenen, teori-pratik diyalektiği odak alınmıştır. Bu itibarla Türk müziği alanındaki ses malzemesi bağlamında işleyen teorik tartışmalar ve bu teorik tartışmaların tanımladığı rasyonelleşme ve standardizasyon olgularının, müzikal birikimin ele alınmasında referans olma algısallığının tek adresi olarak gösterilmesi irdelenmiştir. Tüm bu parametreler dahilinde müzikal yaratımın değerlendirilmesinde çağdaş ve eleştirel düşünce sistemleriyle etkileşime girilmesi elzem görülmektedir. Buna göre müziğin özerkliğinin gündeme alınması ve aydınlanma ile birlikte miras alınan perspektifin eleştirel düşünce ile girdiği etkileşime konsantre olmak gerekmektedir. İşte bu yaklaşımlar içerisinde bazı yaratım sahipleri rasyonalist standardizasyonu tercih ederken, kimileri de alternatif akılsallık zeminlerinde üretim sergilemektedirler. Bu noktadan hareketle tez çalışmasın dördüncü bölümünde söz konusu alternatif akılsallık zeminlerindeki yeni perspektifler arasında değerlendirilebilecek ve bünyesinde birden fazla boyut barındıran bir evren doğrusu izleyen Erkan Oğur'un perdesizlik zemini incelenmiştir. Bu doğrultuda Oğur'un kendi toplumsal ve bireysel parametreleri çerçevesinde bu zemin üzerinde müzikal yaratımını nasıl şekillendirdiği sorgulanmıştır.
Özet (Çeviri)
The phenomenon of music is discussed within the context of various theoretical approaches throughout the history. The fact that the addresses of musical production were directed to theoretical approaches has raised the problem of autonomy of music in the contemporary critical level. When evaluated within the framework of this critical perspective, the thought systems, in which music's instrumentality has become an emphasis, become the subject of a historical review. In this respect, the problem of having the moral values of music has a principal role in the thought system attributed to Pythagoras as well as in the ancient thought systems. In other words, it can be noted that music has an important role in the context of functionality, and this makes it one of the keys for individuals to find the way to live a good life. In connection with all these facts, harmonia is the reality of cosmological phenomena that can be monitored through music. In Plato, which is another intellectual reference address of Ancient Greece, the phenomenon of harmonia was shaped in the orbit of the concept of ideas he constructed with the heritage he took from Socrates. Plato, who understood Socrates' life and way of thinking and created the world of ideas, has characterized the practice powerlessly in the face of harmony, which is the key to the world of quality he established on epistemological grounds. In this respect, music is a tool used to be able to have only qualities represented by ideas. Musical practice and melodic pleasure are the shadows in the allegory of the cave. In this respect, the supreme reign of the city-state and the individual belonging to it should not get caught up in this excitement but should be able to come to reality on the epistemological basis of harmonia. Music, the material of the world of ideas in antiquity, has become a tool used to establish the relationship with God in dogmatic systems. In other words, music was forced to carry the burden of functionality in this period as well, while representing one of the only addresses of reaching the essence in certain forms. On the other hand, in the context of some elements it possesses, it was described as the product of an evil deception that drives people to degeneration. This way of thinking is actually a legacy inherited from antiquity. Medieval dogmatism reinterpreted the idea of universal harmony, proposed by Pythagoras, hidden in the rule of numbers and the characteristics of the world of ideas of Plato by putting Jesus in the center, and the facts such as harmony, morality and pleasure within the instrumentality of music were discussed on a ground shaped around the idea of Christianity. Among the discussed approaches, the fact that leads period thinkers into a contradiction the most is whether melodic excitement and pleasure will support the goal of achieving the essence of the human spirit within the prayer. Although philosophers of the age prefer to stay closer to the second approach, the bridge from antiquity has made it possible to use the elements in the music to purify the soul while containing such dilemmas. Based on this idea, it has been understood that the approach treating music as a theoretical knowledge only in line with the thought systems has shortcomings in taking advantage of the functionality of music, so it is essential to focus on the practical problems of music. In this context, Arezzolu Guido ended the separation caused by autonomous handling of liturgic songs and conducted studies in the field of notation, which he saw as a phenomenon that would realize the sacred union within the polyphonic structure, by singing together. Renaissance, where various cultural and natural structures were discovered, was a period in which music was dealt with its own magical and bodily sounds that are not bounded by theological and secular boundaries. This movement, which began with a longing for antiquity, made a journey between the Renaissance and the Late Alexandria periods possible. In this respect, Zarlino brought a new dimension to Ptolemy's musical perception-centric approach, which was based on the state of the sounds in nature, by putting it on a theoretical ground shaped on an idyllic rationalization basis. The major representing the idyllic nature and its rational and mathematical counterpart, the minor, are now the principal materials of harmony. At this point, the foundations of tonal harmony were founded, and the fictional formality of medieval dogmatism was left behind. This period of excitement has been replaced by a new rationality paradigm with the motto of legality. In this new intellectual plane, the musical practice legitimated the tampere system, which is a static structure shaped within the framework of standardization rhetoric, in an absolute way. As briefly mentioned above, the thesis study first examines the leading role of harmony in musical creation and how it communicates with theoretical approaches while performing it. In this respect, the first part focuses on the relationship between the music and various breaking points of the history of thought as well as society-individual concepts of Tanzimat Period and republic period of Turkey. In the second part, the reference sound systems shaped in the perceptual planes of various breaking points of the history of thought mentioned and some technical details of these systems are described by associating them with the intellectual grounds of their periods. Within the scope of this discussion, music definitions from the perspectives of theorists such as Pythagoras (570 - 495 BC), Aristoxenus (360 - 300 BC), Ptolemy (90-168 AD) and Zarlino (1517-1590) were discussed in addition to functionality of creations such as Pythagorean series, natural series and tampere. The third part focuses on the theoretical-practical dialectic, which is shaped within the framework of the Nation State rhetoric in accordance with Enlightenment. In this respect, the theoretical debates in the context of sound material in the field of Turkish music and the rationalization and standardization cases defined by these theoretical debates have been examined since these cases are considered as the only addresses of the perception of being a reference in the handling of musical accumulation. It is essential to interact with contemporary and critical thinking systems in the evaluation of musical creation within these parameters. Accordingly, it is necessary to include the autonomy of music in the agenda and concentrate on the interaction between critical thinking and the perspective inherited with enlightenment. In these approaches, some of the creators prefer rationalist standardization while some others are producing on alternative rationality grounds. In this sense, in this study, Erkan Oğur was chosen as the sample and the interaction of his individual configuration with society and the current time-space perception was addressed. This condensation seeks to draw attention to the fact that the musical creation has a dynamic structure in the intellectual and operational sense and the determinant of the boundaries to be created will be determined according to this dynamic structure. From this point on, in the fourth part of the thesis study, the fretless ground of Erkan Oğur, which can be evaluated among the new perspectives on alternative rationality grounds and follows a line of universe with more than one dimension, in addition to how Oğur shaped his musical creation on this ground within the framework of his own social and individual parameters were examined.
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