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Doğu Karadeniz popüler müziğinde metinlerarasılık ve ana-metinsellik

Intertextuality and hypertextuality in Eastern Black Sea popular music

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  1. Tez No: 859464
  2. Yazar: GÖKHAN ALTINBAŞ
  3. Danışmanlar: PROF. SONGÜL KARAHASANOĞLU
  4. Tez Türü: Doktora
  5. Konular: Müzik, Music
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2024
  8. Dil: Türkçe
  9. Üniversite: İstanbul Teknik Üniversitesi
  10. Enstitü: Lisansüstü Eğitim Enstitüsü
  11. Ana Bilim Dalı: Müzikoloji ve Müzik Teorisi Ana Bilim Dalı
  12. Bilim Dalı: Müzikoloji ve Müzik Teorisi Bilim Dalı
  13. Sayfa Sayısı: 249

Özet

Doğu Karadeniz Bölgesinin zengin müzikal mirasını ve bu mirasın tarihsel, kültürel, sosyo-ekonomik ve politik bağlamda nasıl bir dönüşüm geçirdiğini kapsamlı bir şekilde inceleyen bu tez, bölgesel müzik üzerine yapılan sınırlı araştırmalar içinde öncü bir konuma sahip olma hedefi taşımaktadır. Araştırmaların bu alanda nispeten az olmasının nedenleri incelendiğinde, etnik çeşitlilik, göç hareketleri, ekonomik ve sosyo-politik dönüşümler, küresel etkileşimler gibi bir dizi karmaşık faktörün detaylı analizi gerektiği sonucuna varılabilir. Bu faktörleri etraflıca incelemek için, araştırmacının bölgenin kültürü, insanları, coğrafyası ve tarihine dair geniş bir bilgi birikimine sahip olması, saha araştırmaları ile birlikte bölgeye özgü müzikal kültür ürünlerini iyi analiz edebilmesi gerekmektedir. Ayrıca, araştırmacının bölgede uzun süreli doğrudan deneyimlere sahip olması da bu konunun derinlemesine sağlıklı bir şekilde incelenmesi için önemli bir kıstastır. Bu tez, Kazım Koyuncu, Volkan Konak, İsmail Türüt ve Davut Güloğlu gibi ulusal çapta popülerliğe ulaşmış Doğu Karadeniz müziği temsilcilerinin eserlerini merkeze alarak, bu bölgesel müziğinin nasıl ulusal ve uluslararası alanda tanınırlık kazandığını ve popüler kültürdeki yerini ayrıntılı bir şekilde incelemektedir. Çalışma, bu müzikal mirasın çeşitli medya formatlarında nasıl temsil edildiğini ve yeniden yorumlandığını, bu sürecin medyalararasılık ve ana-metinsellik kavramları aracılığıyla nasıl sürekli bir şekilde yeniden şekillendirildiğini ve güncellendiğini ve yukarıda saydığımız isimlerin popülerliğine nasıl etki ettiğini analiz etmektedir. Bu dört ismin öncü olduğu müzikal tarz ve türlerin yanında bu sanatçıların temsil ettiği kitleler ve politik görüşlerle olan ilişkileri, aynı zamanda metinlerarasılık ve ana-metinsellik bağlamında nasıl etkileşimde bulundukları albüm, eser, klip ve medya analizleriyle detaylı olarak ele alınmaktadır. Bu anlamda belirlenen dört isim, birbirleriyle bağlantılı ve harici örneklerle geniş bir perspektiften incelenmekte ve bu bağlamda popülerliklerini nasıl şekillendirdikleri ve sürdürdükleri detaylı bir şekilde araştırılmaktadır. Araştırma, Doğu Karadeniz müziğinin yalnızca melodik ve ritmik özellikleriyle sınırlı kalmayıp, aynı zamanda tarihsel, sosyo-ekonomik, politik ve kültürel dinamiklerin bir ürünü olarak ele alınması gerektiğini vurgulamaktadır. Doğu Karadeniz müziğinin geleneksel ögelerin korunmasının yanı sıra çağdaş trendler ve küresel etkileşimlerle sürekli bir yenilenme ve dönüşüm sürecinde olduğunu vurgulanmaktadır. Bu süreç, bölgenin müzikal mirasının modern akımlar, medya ve uluslararası etkileşimlerle zenginleştirilmesi ve yeni biçimler kazanması anlamına gelir. Böylece, Doğu Karadeniz müziği, tarihi ve kültürel köklerini sürdürürken aynı zamanda global müzik dünyasındaki değişikliklere de adapte olmayı başarmaktadır. Tez, teorik temelleri üzerine kurulduğu metinlerarası ve ana-metinsel ilişkilerle çok disiplinli yaklaşımların, etnomüzikolojik incelemelerin, yerel ve küresel dinamiklerin, sosyal ve politik boyutların, teknoloji ve medya etkileşimlerinin ve sanatçı odaklı çalışmaların bu alanda ne kadar kritik olduğunu göstermektedir. Bu kapsamlı inceleme, Doğu Karadeniz müziğinin geçmişini korumanın yanı sıra, gelecekteki gelişim yollarını da belirlemek açısından önemlidir. Tez, müzikal mirasın sadece tarihi ve kültürel bir olgu olarak değil, aynı zamanda sürekli gelişen ve değişen bir sosyal yapı olarak anlaşılmasının önemini vurgulamaktadır.

Özet (Çeviri)

This dissertation presents an in-depth analysis of the musical heritage of the Eastern Black Sea region, examining its transformation over time in the context of historical, cultural, socio-economic, and political circumstances. This pioneering study tends to fill the gap in the limited research on regional music, focusing on the unique cultural, geographical, and historical context of the Eastern Black Sea region. The study underscores the need for a comprehensive understanding of the region's diverse ethnic composition, migration patterns, economic and socio-political changes, and the impact of global interactions. The study emphasizes the importance of multifaceted analysis in understanding the region's dynamic musical culture. It posits that in order to fully grasp the nuances of the region's musical evolution, it is crucial to delve deeply into the different ethnic groups, the movements of people, and the transformations brought about by economic and political shifts. Furthermore, the study highlights the role of global influences in shaping the musical landscape of the Eastern Black Sea region. In doing so, the research aims to make an important contribution to the understanding of the music of the Eastern Black Sea region, offering new perspectives on its ongoing development and emphasizing its importance within a broader cultural and socio-political context. In sum, this dissertation positions itself as a comprehensive and insightful exploration of the rich and diverse musical heritage of the Eastern Black Sea region, intended to serve as a foundational reference for future studies in the field and to encourage further research in this vibrant and dynamic area of musicology. This dissertation focuses on the influential works of renowned Eastern Black Sea musicians Kazım Koyuncu, Volkan Konak, İsmail Türüt, and Davut Güloğlu, exploring how their unique regional music has gained national and international recognition and established its presence in the sphere of popular culture. The research examines how this musical heritage, characterized by its distinctive regional qualities, has found resonance and acclaim beyond its local boundaries, thereby carving out a significant niche in the broader cultural landscape. The focus of this research is an analytical examination of how intertextuality, primarily intertextuality, hypertextuality, intermediality and intermusicality contribute to the popularization of the music of important artists from the Eastern Black Sea region. The study delves into the nuanced dynamics of these textual relationships, scrutinizing their pivotal role in the ascendance and widespread recognition of these musicians. It meticulously investigates the processes of representation, reproduction, and reinterpretation of their musical works through these textual lenses. Study engages deeply with the concepts of intertextuality and hypertextuality, employing them as frameworks to understand the ongoing transformation and modernization of these artists' musical outputs. This approach facilitates an all-encompassing examination of the myriad ways in which diverse cultural, artistic, and media elements interact with and influence their music. Such a perspective reveals a musical narrative that is not static but rather in a state of perpetual evolution, shaped by the complex interplay of various textual practices. The study further explores how these evolving processes have markedly impacted the artists' popularity, extending their influence beyond regional confines and elevating their music to a status of broad cultural significance. This analysis not only underscores the transformative power of textual relationships in music but also highlights the capacity of these artists' works to transcend their regional origins, becoming emblematic of a wider cultural dialogue. In addition, the dissertation meticulously examines the musical styles and genres pioneered by Koyuncu, Konak, Türüt, and Güloğlu. While examining, it analyzes in-depth the use of intertextual practices such as parody, cover, translation, instrumental cover, remix as well as intertextual practices such as quotation, citation. The study pays meticulous attention to how these Eastern Black Sea artists represent their audiences and political views, intricately weaving these elements into the fabric of their music. Through an in-depth analysis of their albums, works, music videos, and other forms of media representation, this research provides a comprehensive understanding of the methods and strategies these artists have employed to shape and sustain their popularity. Their music is not considered in isolation; instead, it is contextualized within a broader spectrum of global genres, offering a rich backdrop to comprehend their widespread influence and the evolution of their musical styles. Transitioning from individual representation to broader cultural impact, this thesis delves into the intricate intersection of regional music from the Eastern Black Sea with national and international cultural currents. It underscores the transformative journey of these artists' works, tracing their trajectory from local acclaim to global recognition. This aspect of the study highlights the artists' significant contributions in shaping not only the regional but also the broader musical landscapes, marking their indelible imprint on the world stage. Further expanding upon the dynamic nature of Eastern Black Sea music, the research illuminates its ability to transcend beyond mere melodic and rhythmic features, reflecting a rich confluence of historical, socio-economic, political, and cultural dynamics. Rooted deeply in tradition, this music consistently demonstrates resilience and adaptability, continuously renewing and transforming in response to contemporary trends and global interactions. The study reveals how Eastern Black Sea music, while preserving its traditional essence, adeptly adapts and integrates with the evolving global music scene. This process of adaptability is more than a survival mechanism; it signifies the enrichment and evolution of the region's musical heritage, integrating it with modern movements, media, and international influences, thus enhancing its appeal and relevance in today's diverse musical landscape. This dissertation further emphasizes the vital role of a multidisciplinary approach, including ethnomusicological studies, in comprehending the Eastern Black Sea's musical legacy. This in-depth exploration goes beyond the traditional analysis of musical genres and styles; it delves into the complex interplay between local and global dynamics, social and political dimensions, and the interconnections between technology and media. This approach is crucial for understanding the region's music not only as a product of its historical and cultural context but as a living, evolving social structure. The work of Kazım Koyuncu, Volkan Konak, İsmail Türüt, and Davut Güloğlu serves as a case in point, showcasing how their artistic expressions reflect and respond to these multifaceted influences. Their music, while deeply rooted in the regional culture, transcends geographical boundaries, and resonates with broader, more diverse audiences, illustrating the dynamic and adaptive nature of the Eastern Black Sea's musical heritage. The comprehensive analysis of their work offers insights into the future trajectory of this music, underscoring the need for ongoing research and exploration in this vibrant and evolving field. This perspective not only preserves the rich history of Eastern Black Sea music but also paves the way for its continued relevance and development in the global musical landscape. Building on the multidisciplinary approach, this research asserts the dynamic essence of Eastern Black Sea music, which transcends simple melodic and rhythmic elements. It highlights how this genre is an active manifestation of the region's history, socio-economics, politics, and culture, continually evolving while upholding its traditional core. This ongoing evolution is indicative of the rich musical heritage of the region, adeptly adapting to modern trends and international influences. By doing so, Eastern Black Sea music maintains its historical and cultural integrity while dynamically engaging with the global music scene, thus ensuring its lasting relevance and resonance both within its local context and on a global stage. The dissertation conducts a profound analysis of this musical tradition, advocating for the integration of various disciplines such as ethnomusicology, anthropology, and cultural studies for a comprehensive understanding. This approach allows for an intricate examination of the musical components - melodies, rhythms, instruments - and their social and historical contexts, thus unveiling the intricate fabric of Eastern Black Sea music and its role in forging cultural identity. The study delves into the evolution of this music, noting its interactions with other musical traditions and its capacity to bridge cultural gaps and facilitate cross-cultural comprehension. By centering on notable artists from the region, the thesis illuminates the interwoven nature of musical progress and emphasizes the crucial role these artists play in guiding the direction of Eastern Black Sea music. This insightful investigation into the dynamic interplay of local and global forces, social and political themes, and the influence of technology and media, provides a deeper understanding of the genre's complexity and its transformative journey in the ever-evolving landscape of music. This comprehensive study emerges as an indispensable resource for advancing future research, providing an elaborate framework for both safeguarding the historical essence of Eastern Black Sea music and steering its progression. The thesis advocates a perspective that views musical heritage not merely as a static historical and cultural artifact, but as an evolving entity within a social context. This approach enables a dynamic appreciation of the music, recognizing its capacity to adapt and respond to the shifting social, political, and cultural landscapes. As a conclusion, the dissertation asserts its significance as a foundational work for ongoing inquiry and research within this lively and evolving musical domain. It meticulously records the historical and contemporary facets of Eastern Black Sea music while offering insights into its prospective future trajectories. The thesis underscores the imperative for continuous research and exploration in this field, to ensure the comprehensive recognition, understanding, and appreciation of this rich musical heritage in all its complexity and vibrancy. The dissertation not only chronicles the past and present of this distinct musical genre but also lays the groundwork for its ongoing evolution and adaptation in a globally changing music scene. By exploring the myriad influences and transitions that have shaped Eastern Black Sea music, the research highlights its resilience and adaptability. Additionally, it stresses the need for collaborative efforts among musicians, scholars, and cultural institutions to nurture and propagate this vibrant musical tradition for future generations. This collaborative approach is pivotal in maintaining the genre's relevance and vitality, ensuring that it continues to thrive and resonate with diverse audiences worldwide.

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