Nazariyat yazımında modern sonrası eğilimler: Dairenin sosyogenetiği
Postmodern dispositions in Turkish music theory writing: Sociogenesis of the circle
- Tez No: 647562
- Danışmanlar: PROF. SONGÜL KARAHASANOĞLU
- Tez Türü: Doktora
- 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: Müzikoloji ve Müzik Teorisi Bilim Dalı
- Sayfa Sayısı: 292
Özet
Bu çalışmada, üzerine çokça yazılıp çizilmiş olan musikide modernleşme kavramının günümüzü de içine alacak şekilde düşündüğümüzde nereden gelip nereye doğru evirildiğine dair bir tahlil ve perspektif koymak hedeflenmiştir. Öncelikle ana çerçevemizi oluşturan modernlik kavramının, onunla irtibatlı diğer kavramlar olarak modernizm, modernleşme, hatta modernleşmenin bir alt kümesi olarak batılılaşma gibi kavramların ne olduğuna dair konunu sınırlarını aşmadan anacak mümkün olan en geniş kapsamlı bir tarif ortaya konulmaya çalışılır. Moderniteyi tek bir kavram olarak tarif etmek yerine bu kavramın ihtiva ettiği ekonomik, tarihsel, toplumsal ve kültürel gerekçeleri ayrı ayrı irdelendikten sonra ideolojik arka planına değinir. Modern sonrasında ortaya çıkan dönüşümleri açıklayabilmek için ise modernitede konunun nasıl ve ne şekilde olduğuna referans verilerek farklara odaklanılır. Üzerinde tartışacağımız zemin oturduktan sonra“Nazariyatta Modern Öncesi”isimli bölümde musiki nazariyatının modern öncesindeki genel seyrini ana hatlar üzerinden ortaya koyar.“Nazariyatta Modernleşme”isimli bölümde ise modern öncesinde musikiye dair verilen bağlam, modernliğe dair çizilen çerçeveye oturtularak modern dönem nazariyatı pek çok farklı tespit ve analiz etrafında tarif edilir. Özellikle Türkiye bağlamında modernliğin aşamaları ve gerekçeleri ortaya konulur. Akabinde modern dönem musiki nazariyatının genel çerçevesi, onun modernlik ve modernleşme bağlamındaki belirgin özellikleri tarif edilir.“Nazariyatta Modern Sonrası”isimli bölüm ise asıl tartışmak istediğimiz konuyu içeren kısımdır. Musiki nazariyatında modern sonrası dönemde ortaya çıkan dönüşümler pek çok kaynağın farklı perspektiflerle analiz edilmesiyle ortaya konulur. Bu dönüşümler aslında birbirinden bağımsız olarak ortaya çıkmasına rağmen benzer birtakım olguların modern sonrası nazariyat yazımında tekrar eden ve giderek yoğunluğu artan eğilimler olduğu tespitinden sonra belirgin dönüşümleri ana kategoriler altında toplayarak bunların biçimlerini, gerekçelerini ve sonuçlarını irdeler. Her bir ana kategori altında pek çok gösterge analiz edildikten sonra yine her birinin sonunda yer alan“Çıkarımlar ve Tartışma”isimli bölümlerde, o kategoriye dahil edilen dönüşümlere dair tahliller sunulur.“Dairenin Sosyogenetiği”isimli bölümde ise modern sonrasının bütün bir nazariyat tarihi içerisinde nerede durduğuna dair yorumlara yer verilir ve çalışma sonuç bölümüne bağlanarak çalışmanın bütününe dair yapılan analizlerin sonuçları ortaya konulmaya çalışılır. Sonuç bölümünde ise sonuçlar, tahliller ve tespitler sunulur.
Özet (Çeviri)
It is a fact that, modernisation in Turkish music is a field studied detailly and almost every month we are able to find out a new article published, analysing a specific aspect about modernisation period in Turkish music theory. Furthermore, there is an increasing tendency towards the theory shaped in the pre-modern era(s) via resources written before the modern era. Paradoxically, this tendency is also the matter of postmodern era. On the other hand, although there are some specific findings about postmodern aspects in the literature, there is no dedicated study targets to understand, classify, portray and investigate the tendencies and the questions emerging in the postmodern Turkish music theory. This study is the first study ever about the problem it is dedicated to. First of all, we tried to create the basis for the terminology we will be discussing. It is primarily the postmodern and its aspects. Nevertheless, due to the nature of the concept of the postmodern itself, we need to draw a large-scale depiction of the modern and then try to explain the postmodern depending on the axioms defined there. In order to achieve that, we started a detailed survey of modernity, its ideological, historical, social, and economic background. And we tried to build the notion and understanding of postmodern on top of this. It is a fact that, postmodern is a broad term covers many areas including art, philosophy, literature, architecture etc. However, in our case we specifically focused on the postmodern epistemology since we are trying to uncover the tendencies about music theory writing specifically. Then we started to create a survey on the pre-modern era(s) in music theory in the near east in general. Historically, it is also possible to initiate concurrent Turkish music theory from ancient Mesopotamia; but it would be infringement of the scope and it is not related to what we are trying to do. For this reason, we started the Muslim scientists' period, specifically from Al Kindi but still not will all aspects. The primary focus in the pre-modern era would be post 13th century which covers Safi al-Din al-Urmawi and his followers. We also tried to develop a perspective on different eras and different tendencies in the pre-modern music theory writing. Specifically, starting from Fârâbî and also the school follows Safi al-Din al-Urmawi Islamic rationalism, science and philosophical tradition had an incredible impact on the theory writing. Mathematical calculations were at the centre of the methodology. However, after 15th century, this tendency started to be changed; cosmology gained more significance than maths. The notion of seeking a rational and reasonable explanation with the theory was replaced by analogies deriving from cosmology; in other words, rationalism was replaced by intuitionalism. However, this paradigm shift was also a key to a new understanding and interpretation of the theory. Even though determining the exact locations of the frets on a string is not the primary matter, there has been a completely new way of“theory making”emerged which puts the melody at the centre. This method also bridged the gap between the theory and the praxis. After renascence and reform in the north-western Europe, new methods of production led to new ways of manufacturing and it was an un-competing way of economic growth. As a solution to the“problem of west”for the Ottoman Empire, the governing elite decided to adopt to the western models and ideas. This process can basically be called as modernisation. The process of modernisation is related to the culture since in order to create the economic aspects of modernisation, the society should also be formed accordingly. There had been attempts to modernise Turkish music; however, modernisation of Turkish music and modernisation in the theory are not always parallel. There are different parameters affecting them. First footsteps of the modernisation in the music theory can be seen in the late 18th century. In the writings, we can straightforwardly see that the way how some theoreticians interpret the music theory changes gradually. However, they were still eastern music theoreticians contacted with modern ideas. However, the first modern Turkish music theory initiates with the Rauf Yekta Bey who wrote an article for an encyclopaedia in French and made a detailed explanation of the bases of Turkish music. He overthrows the whole traditional theory and establishes a completely new ground for theoreticians who will follow him. Saadeddin Arel and his companions“borrowed”and created a new structure on Rauf Yekta Bey's theory and the created a new black box perfectly isolated from its history which will be a standard in late 20th century and it will replace the tradition itself. In short, the modern music theory was re-constructed under the impact of modern, specifically positivist ideas. The modern Turkish music theory was an assembly trying to find a solution to its own problems which are derived from a primary one;“how can we integrate into western music”. This paradigm continued as far as the last part of the previous century. After the Second World War, a new era began. Discourses stated by modernism were not the ultimate guide for the humanity anymore to succeed in spite of all the aspects it provided to the humanity. For example, the myth of“having uninterrupted progress for the good of humanity”started to be questioned. Furthermore, positivism is also questioned, and all these different social, scientific and philosophical matters caused modern people to lose their faith to modernity in general. In the case of Turkey, modernity was still a new concept tried to be adopted and widened across the country and different social classes and geographical locations. After the western world that started losing their interest towards the modernity, state and the elite trying to modernise the country also started to lose their interest towards modernity. This fact, caused a paradigm shift in the politics, culture, religion etc. and this paradigm shift immediately became obvious in the field of music theory as well. In the postmodern music theory, the modern paradigm is abolished slightly, and numerous different tendencies occurred. Each different tendency was deriving from a different ideological perspective. At a first glance, it looks like there is an irregular paradigm shift in the postmodern music theory and there is a complete chaos. However, there are some patterns which occurs almost all the postmodern theoretical perspectives. One and the most apparent of them is increasing interest toward the self-history. In the modern music theory, possibilities of polyphony, ways of writing with the western notation, or questions like“which scale can replace the role of western major scale”were among the primary concerns. On the other hand, in the postmodern Turkish music theory primary questions are derived from more practical and historical concerns. The pursuit of“authentic”became an imported subject matter. Almost all the music theory studies have been directed to the manuscripts written before the modern era. There are numerous attempts to reconstruct a new theory derived from pre-modern theories. Second most common pattern can be the shift in the discourses. The modern theoreticians were trying to re-shape the future and to establish a new tradition. However, postmodern theoreticians primarily try to uncover the authentic past in the theory. Another most obvious pattern is that the borders that modern theory draw has also started to be passed over. The most obvious evidence is that, in the modern era, music tradition having hundreds of years of history is divided into“folk”and“art”just for the sake of ideological issues. However, in the postmodern era, these borders are being exceeded. Theoreticians and practitioners in both genres growing an interest towards the other and this fact can also be seen in the written resources.
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