Ney enstrümanının sosyal kimliğinin söylemsel iz düşümü
The discursive trace of the social identity of the nay instrument
- Tez No: 922203
- Danışmanlar: PROF. DR. BELMA OĞUL
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Ney enstrümanı, ney, sosyal kimlik, eleştirel söylem analizi, Nay instrument, reed flute, social identity, critical discourse analysis
- Yıl: 2025
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Müzikoloji ve Müzik Teorisi Ana Bilim Dalı
- Bilim Dalı: Müzikoloji Bilim Dalı
- Sayfa Sayısı: 165
Özet
Müzik, müzikoloji ve kimlik çalışmalarında kültürel ifadeler, bireysel ve toplumsal kimlikler ile toplumsal dinamikler arasındaki karmaşık ilişkiler bağlamında araştırılmıştır. Müzikte sosyal kimliğin söylemler aracılığıyla inşası, etnomüzikoloji literatüründe merak uyandıran bir konudur. Günümüz Türkiye'sinde ney enstrümanı, cazdan klasik müziğe kadar çeşitli türlerdeki müzisyenler tarafından performanslara dahil edilen etkileyici sesleriyle müzik sahnesinde dikkat çeken bir varlık haline gelmiştir. Bu evrim, bireylerin ney enstrümanını geleneksel bağlamından nasıl farklı algıladıkları ve bu algıların çeşitli söylemler aracılığıyla nasıl şekillendiğine dair merak uyandırmaktadır. Bu araştırma, gündelik hayatın pratiklerinde neyin sosyal kimliğinin işleyişini sağlayan söylemsel kaynakları anlamayı hedeflemektedir. Bu minvalde önde gelen iki adet Türk gazetesinden seçilmiş haber makalelerinde gazetecilerin ney enstrümanının sosyal kimliğini zihinlerinde nasıl kavramsallaştırdığı ve neyin hem geleneksel hem de modern kimliğinin sosyokognitif bileşenlerini nasıl temsil ettiği van Dijk'in eleştirel söylem analizi yaklaşımıyla incelenmektedir. Araştırma bulgularında, postmodern neyin, bireysel iyi oluşu ve mistik gelenekleri ön plana çıkaran manevi bir deneyim aracı olarak temsil edilirken, geleneksel neyin toplumsal kimlik ve manevi arayışlar bağlamında bir aidiyet duygusu yaratarak kolektif bir manevi deneyimi temsil ettiği görülmüştür. Bu iki farklı yaklaşım, müziğin hem bireysel hem de toplumsal kimlikler üzerindeki farklı manevi ve gelenekler bağlamında yol açtığı etkiyi göstermektedir. Postmodern ney bağlamında ortaya çıkan ve bireysel deneyimi önceleyen Mevlevîlik, şeyh-mürit zincirinin dışında bir epistemoloji kurarken, geleneksel neyin epistemolojik çerçevesi Yunus Emre, Mevlânâ gibi Sûfî şahsiyetlere ve meşk silsilesine dayanmaktadır. Araştırma müziğin manevi deneyim sunma kapasitesine ek olarak, neyin postmodern semboller çerçevesinde kullanımıyla“dünya vatandaşı”etiketine hizmet edebilen yeni bir mistik alan inşa ettiğini vurgulamaktadır. Geleneksel kodlar çerçevesinde kollektif manevî tecrübe sunmasının yanı sıra neyin egonun ihtiyaçlara binaen sunduğu bireysel mistik tecrübe kapasitesi de postmodern bağlamda yeniden inşa edilmektedir.
Özet (Çeviri)
Music has been the subject of research in musicology and identity studies as it signifies more than its constitutive elements, elucidating complex relationships between cultural expressions, personal and collective identities, and societal dynamics. The construction of social identity in music through discourses is a compelling topic within ethnomusicology literature. In contemporary Turkey, the nay instrument has gained prominence on the music scene, with its captivating sounds being featured in performances across various genres, from jazz to classical music. This evolution raises intriguing questions about how individuals perceive the nay differently from its traditional context and how these perceptions are shaped through various discourses. This research aims to explore the discursive resources that facilitate the social identity of the ney in everyday practices. To this end, articles from two leading Turkish newspapers are analyzed using van Dijk's critical discourse analysis approach. The analysis reveals how journalists conceptualize the social identity of the ney and how it reflects the socio-cognitive components of both the traditional and modern identities of the ney. This dissertation examines the evolving identity of the ney, a traditional Middle Eastern wind instrument, within the context of postmodernity. Rooted in the rich spiritual and cultural heritage of Islam and Sufi practices, the ney has historically been a profound symbol of spiritual transcendence. However, it has undergone significant transformation in the modern era, emerging as a multifaceted cultural artifact. By employing Van Dijk's Critical Discourse Analysis (CDA) as the principal analytical framework, this research investigates how contemporary discourses surrounding the ney reflect broader ideological, cultural, and economic dynamics. The study primarily focuses on interviews with two prominent ney players, Kudsi Erguner and Mercan Dede, to explore the tensions between tradition and innovation, authenticity and commodification. Van Dijk's CDA framework, focusing on the interplay between discourse, ideology, and power, enables a nuanced analysis of how cultural symbols such as the ney are constructed and contested within the public sphere. This methodological approach facilitates the exploration of macro-level ideological structures and micro-level discursive practices, allowing the study to trace how the ney's identity has been mediated through cultural narratives, media representations, and global market forces. The critical lens of CDA provides a robust theoretical foundation for interrogating how historical continuity and postmodern hybridity are negotiated in the representation and reinterpretation of the ney. The findings suggest that the postmodern nay is a tool for spiritual experience, emphasizing individual well-being and mystical traditions. In contrast, the traditional nay fosters a sense of belonging in the context of social identity and spiritual quests, representing a collective spiritual experience. These two distinct approaches illustrate music's impact on individual and social identities within various spiritual and traditional frameworks. In the postmodern context, focusing on personal experience allows for developing a unique epistemology, transcending the conventional sheik-disciple (mureed) hierarchy. At the same time, the traditional epistemological framework of nay is rooted in Sufi figures such as Yunus Emre and Mevlânâ, as well as the chain of musical transmission (meshk chain). This research highlights not only the capacity of music to offer spiritual experiences but also how the nay, when framed within postmodern symbols, creates a new mystical realm that aligns with the notion of being a“global citizen.”In addition to providing a collective spiritual experience within traditional frameworks, the ability of the nay to offer individual mystical experiences—tailored to the needs of the ego—is being reconstructed in the postmodern context. The ney's traditional identity is deeply embedded in the spiritual and musical practices of the Mevlevî Sufi order, where it functions as a sacred instrument that symbolizes the human soul's longing for union with the divine. This symbolism is intimately tied to the Sufi cosmological framework, including the stages of Sharia (law), Tariqa (path), Haqiqa (truth), and Marifah (gnosis), and to the Ottoman meshk system -musical education based on master-apprenticeship- of oral transmission. Within this context, the ney was not merely a musical instrument but a vessel of collective memory, spiritual discipline, and cultural continuity. Its sound and symbolism were integral to the communal spiritual experience of Sufi rituals, fostering a sense of unity and transcendence. In contrast, the postmodern context has introduced a series of ideological and cultural shifts that have significantly reshaped the ney's identity. These transformations are explored through a comparative analysis of the philosophies and artistic practices of Kudsi Erguner and Mercan Dede. Erguner, as a staunch traditionalist, advocates for preserving the ney's historical and spiritual essence. His discourse emphasizes the importance of maintaining the ney's authenticity through adherence to traditional practices, particularly the Meşk system, which he views as vital to preserving cultural heritage. Erguner's narrative positions the ney as a counterpoint to the homogenizing effects of globalization, arguing for its continued role as a repository of Ottoman and Sufi cultural memory. Conversely, Mercan Dede exemplifies a postmodern approach, incorporating the ney into electronic music and globalized spiritual practices. Dede's reinterpretation of the ney aligns with contemporary cultural hybridity and individualization trends, where the instrument is recontextualized as a tool for personal introspection and universal spirituality. His discourse embraces innovation and inclusivity, situating the new within a broader framework of global spiritual practices, such as mindfulness, yoga, and new-age movements. While Dede's work expands the ney's appeal to diverse audiences, it also raises critical questions about the dilution of its historical and cultural specificity. The application of Van Dijk's CDA to the discourses of Erguner and Dede reveals the ideological underpinnings of their contrasting perspectives. Erguner's traditionalist narrative constructs the ney as a symbol of cultural resistance, authenticity, and historical continuity, emphasizing its use's collective and spiritual dimensions. In contrast, Dede's postmodern narrative frames the ney as a symbol of adaptability, hybridity, and global relevance, prioritizing individualistic and eclectic interpretations over communal traditions. The study's findings underscore the role of discourse in shaping public perceptions of cultural artifacts, highlighting how the ney's identity is actively negotiated within the context of competing ideological frameworks. This research situates the transformation of the ney within broader discussions on the commodification of culture, globalization, and the negotiation of identity in a postmodern world. The commodification of spirituality, particularly within the framework of global markets, has recast the ney as a flexible and marketable symbol of spirituality like“mcney”, often detached from its traditional context. While this process enhances the ney's global visibility and accessibility, it also risks eroding its historical authenticity and reducing its significance to a generalized emblem of spiritual aesthetics. The ideological implications of this transformation are critically examined, shedding light on the power dynamics that influence the construction and dissemination of cultural narratives. By employing Van Dijk's CDA alongside cultural and musicological analysis, this dissertation explores how musical instruments function as dynamic participants in constructing social and cultural identities. The findings highlight the complex interplay between tradition and modernity, authenticity and commodification, and local and global forces in the ongoing negotiation of the identity of ney instrument. This research contributes to ethnomusicology and cultural studies by offering a detailed case study of how cultural artifacts are reimagined and recontextualized within contemporary sociocultural landscapes. Ultimately, this dissertation argues that the ney's transformation reflects shifts in musical and spiritual practices and broader sociocultural dynamics associated with postmodernity. The ney's trajectory from a sacred instrument of Mevlevî Sufism to a global symbol of hybrid spirituality exemplifies the fluidity and contestation of cultural identities in an interconnected world. By engaging with Van Dijk's critical discourse analysis, this study underscores the importance of discourse as a site of ideological struggle, where cultural artifacts are imbued with meaning, negotiated, and redefined in response to changing sociopolitical contexts. The findings highlight music's continued relevance as an artistic and ideological medium, offering new insights into the role of musical instruments in the construction of tradition, modernity, and global cultural exchange.
Benzer Tezler
- 2000'li yıllarda Türkiye'de ney sazı, tavırları ve bu tavırların belli başlı icracıları
Reed flute, styles and mainperformances of these styles in Turkey in 2000s
TOLGA ÜNALDI
Yüksek Lisans
Türkçe
2008
MüzikYıldız Teknik ÜniversitesiSanat ve Tasarım Ana Bilim Dalı
PROF. RUHİ AYANGİL
- Ney icrasında tonun oluşumu: Müzikal, biyomekanik ve estetik dinamikler üzerine bir inceleme ve uygulamaya yönelik öneriler
Formation of tone in the ney instrument: A study on musical, biomechanical, and aesthetic dynamics with practical recommendations
HÜSEYİN İZCİ
Yüksek Lisans
Türkçe
2025
MüzikYıldız Teknik ÜniversitesiSanat ve Tasarım Ana Bilim Dalı
DOÇ. DR. BEKİR ŞAHİN BALOĞLU
DR. ÖĞR. ÜYESİ ŞEBNEM UŞEN
- Türk müziği devlet konservatuvarlarında ney sazının meslek çalgısı olarak tercih durumuna yönelik tespitler
Findings on the preference of the ney as a vocational instrument in Turkish music state conservatories
ADEM YILDIRIM
Yüksek Lisans
Türkçe
2022
Eğitim ve Öğretimİnönü ÜniversitesiTürk Müziği Ana Bilim Dalı
PROF. DR. ÜNAL İMİK
- 20. yüzyılda klasik Türk müziği enstrümanları ve icracıları hakkında genel bir değerlendirme
A General analysis of twentieth century classical Turkish music, instruments and performens
NEVA ÖZGEN
Yüksek Lisans
Türkçe
2001
Müzikİstanbul Teknik ÜniversitesiTemel Bilimler Ana Bilim Dalı
Y.DOÇ. İHSAN ÖZGEN
- Günümüzde Mevlevilik ve Mevlevilikte değişim olgusu: Konya ve Bursa Mevlevileri üzerine nitel bir çalışma
The case of change and change in today: A qualitative study on Konya and Bursa landscapes
GÜLTEN ÇAĞRI
Yüksek Lisans
Türkçe
2020
DinKütahya Dumlupınar ÜniversitesiSosyoloji Ana Bilim Dalı
DR. ÖĞR. ÜYESİ ZEYNEP HİÇDURMAZ