Türkiye'de taş plak koleksiyonculuğunun tarihsel süreci
Historical process of 78 rpm record collecting in Turkey
- Tez No: 928915
- Danışmanlar: DOÇ. DR. ERAY CÖMERT, PROF. DR. ABDULLAH AKAT
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Belirtilmemiş.
- 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: 155
Özet
Bu çalışma, Türkiye'deki taş plak koleksiyonculuğunun tarihsel sürecini ve bu çerçevede müziğin aktarımında aracı olan taş plakları toplamanın ve koleksiyon oluşturmanın müzik tarihi ve kültürel miras için önemini ortaya koymakta, taş plakların kurumsal arşivlerdeki durumunu incelemekte ve günümüzdeki koleksiyoncular açısından sosyal ve kültürel anlamını sorgulamaktadır. Araştırmanın başlangıç noktası, Osmanlı Dönemi'nden itibaren ses kayıt teknolojilerinin ülkeye girişi ve bu teknolojilerin taş plak koleksiyonculuğunun gelişimindeki rolüdür. 19. yüzyılın sonlarında fonografın icadı ve ses kayıt teknolojilerinin Osmanlı topraklarına girişiyle müzik kayıtlarının çoğaltılıp yayınlanması mümkün hale gelmiş, ancak Osmanlı'da bu teknolojik yeniliğe uyum süreci, Avrupa ve Amerika'daki gelişmelere oranla daha yavaş ilerlemiştir. Bu yüzden, kayıt teknolojilerinin Osmanlı'ya girişinden sonra gelişen müzik endüstrisinin doğurduğu plak sektörü, ortaya çıkısından itibaren sayısal anlamda kesin sonuçlarla verilerinin tespit edilemediği bir alana dönüşmüş, fonograf kayıtları yerini hızla taş plaklara bırakırken dönemin sosyal ve kültürel zenginliğinin de aynası olmuş, müziğin kaydedilebilmesi müziğe kitlesel üretim ve erişimin yollarını açmıştır. Çalışmanın devamında, Osmanlı döneminde başlayan taş plak koleksiyonculuğunun, Cumhuriyet döneminde nasıl şekillendiği ve günümüzde hangi koşullarda devam ettiği ele alınmıştır. Plak koleksiyonculuğunun yalnızca öznel bir eylem olmadığı, aynı zamanda toplumsal ve kültürel bir sorumluluk taşıdığı ortaya konulmaya çalışılmaktadır. Bununla birlikte, plak endüstrisinin Türkiye'deki oluşum süreci, plak üretim ve pazarlama stratejileri ve plak koleksiyonlarının gelecekteki akıbeti de sorgulanmaktadır. Araştırma, literatür taraması ve yarı yapılandırılmış görüşmelerden elde edilen verilerin analizi ile yürütülmüştür. Çalışma kapsamında, kovan, taş plak ve ekipmanları da dahil olmak üzere malzeme toplayan herkes plak koleksiyoncusu, taş plak ile sınırlı kalmadan her tür müzikal materyali toplayan kişiler için de müzik koleksiyoncusu şemsiye terimi kullanılmıştır. Görüşmeler, Türkiye'nin farklı şehirlerinde yaşayan taş plak koleksiyoncularıyla gerçekleştirilmiştir. Bu çalışmada, koleksiyoncuların taş plakları toplama süreçlerinde çeşitli sosyal ve kültürel faktörlerin etkili olduğu tespit edilmiştir. Plak koleksiyoncularının, müziğin aktarımı ve korunmasında önemli bir rol oynadığı, ancak bu koleksiyonların büyük bir kısmının kurumsal arşivlerde yer almadığı belirlenmiştir. Ayrıca, taş plakların xvi kurumsal arşivlerde yeterince temsil edilmediği ve bu durumun müzik tarihine yönelik araştırmalarda veri akışını engellediği görülmüştür. Araştırma sonuçları, Türkiye'de plak koleksiyoncusu adı altında yaklaşık ne kadar insan olduğu ve bu insanların ne kadar müzikal materyali arşivlemiş olabileceğinin tahmininden bile uzak bir noktada olunduğunu, Türkiye'de taş plak koleksiyonculuğunun daha fazla tanınması ve desteklenmesi gerektiğini göstermektedir.
Özet (Çeviri)
This study reveals the historical process of gramophone record collecting in Turkey and the importance of collecting and creating collections of gramophone records, which are a means of transmitting music, for music history and cultural heritage, examines the status of gramophone records in institutional archives, and questions their social and cultural meaning for today's collectors. With the invention of the phonograph in the late 19th century and the introduction of sound recording technologies to the Ottoman lands, it became possible to reproduce and publish music records, but the adaptation process to this technological innovation in the Ottoman Empire progressed more slowly compared to the developments in Europe and America. Therefore, the record sector, which emerged as a result of the music industry that developed after the introduction of recording technologies to the Ottoman Empire, turned into an area where the data could not be determined with definite results in numerical terms from the moment it emerged, while phonograph records were rapidly replaced by gramophone records, they also became a mirror of the social and cultural richness of the period, and the ability to record music paved the way for mass production and access to music. The starting point of the research is the introduction of sound recording technologies to the country from the Ottoman Period and the role of these technologies in the development of gramophone record collecting. In this study, the status of gramophone records, which increased after the introduction of sound recording technologies to the Ottoman lands, in institutional archives was evaluated from a historical perspective, and the point reached in gramophone record collecting in Turkey today and the future fate of these records were questioned. In the continuation of the study, it is discussed how the stone record collecting that started in the Ottoman period was shaped in the Republican period and under what conditions it continues today, and it is tried to show that record collecting is not only a subjective act but also carries a social and cultural responsibility. In addition, the formation process of the record industry in Turkey, record production and marketing strategies, and the relationship of record collectors with institutional archives are also discussed. The scope of the research was determined as the early musical materials accompanying the journey of recording music in the Ottoman Empire, the time period when these materials became widespread and became the focus of collectors, the reasons for the emergence of record collecting and its course. The period after the record and the music transmission tools that came to the market in this period were left out of the scope because they were too large to be the subject of a single study within music history research and because the social and economic grounds of that period were different. Within the scope of the study, anyone who collects materials including casings, gramophone records and equipment is called a record collector, and the umbrella term xviii music collector is used for those who collect all kinds of musical materials, not limited to gramophone records. The research was conducted by reviewing the literature and analyzing the data obtained from semi-structured interviews. The details of interest regarding the vinyl record collecting, such as the vinyl record collectors' experiences of collecting vinyl records, the conditions under which they perform this action, the way they perceive music, and the network of relationships they form with other collectors, were obtained through interviews with vinyl record collectors living in different cities of Turkey. For the subject of the research, information was sought from people with different positions and statuses such as academicians, music producers, and digital record collectors, along with vinyl record collectors who are in strategic positions. Thus, it was aimed to address the subject of the thesis with a holistic approach. While the semi-structured interview technique was applied, the interviewees were informed about the content of the subject in advance, and the interview questions were instantly conveyed according to the flow of the conversation. The data we collected from the interviewees was classified and categorized thematically. Although there are publications in the literature in Turkey that examine collecting, I have not come across another study that focuses on record collecting and brings together collectors, folk music compilers, archivists, musicians, music producers and music history researchers. This thesis also has the function of filling the literary gap in the literature with the data it provides as required by the research problem. The lack of an exemplary study in the literature, the diversification of existing studies from a single source, the difficulty of contacting interviewees, the inconsistencies and deficiencies in the record catalogues issued by the companies are among the limitations of the research. At this point, our interviewees who are record collectors and music researchers who physically have these records in their possession have a great contribution in terms of access to information. In this study, it has been determined that various social and cultural factors are effective in the collectors' processes of collecting gramophone records, that collecting records is a process that enriches and deepens musical identity, and that economic prosperity contributes to the volume, space, preservation style and rarity of record collections. It has been observed that today's record collectors are experiencing problems in the purchasing and supplying of records compared to the past due to uncontrollably increasing prices and the fact that there are not as many records in the market as before, and that the sales graph of the gramophone record market is affected by film soundtracks, exhibitions, workshops, radio programs and record concerts prepared on gramophone records. The research found that the record industry has kept up with developing technology, and that the trade of this business has now shifted to social media and digital platforms. It has been seen that record collectors are not just collectors, but also archivists of a period's musical history, who preserve gramophone records and all kinds of documents related to them, and play an important role in the transmission of music. It has been determined that the vast majority of early music recordings that are not found in our institutional music archives in Turkey continue their physical existence in the personal collections of record collectors. It has been observed that many xix collectors are uncertain about the future fate of the musical recordings they collect, and that the next generation approaches these collections as commercial commodities. The study found that gramophone records were not sufficiently represented in institutional archives and that this situation hindered the flow of data in research on music history, and it revealed the need to take concrete steps to ensure the sustainability of music sound recordings held by gramophone record collectors in Turkey. The research results show that the volume of casings and records belonging to the early sound recording history in Turkey, during the approximately 60-year period of the record era, is an area where definitive results cannot be determined. However, it has been concluded that we are far from even estimating how many people there are in Turkey under the name of record collectors and how much musical material these people may have archived. The research also highlighted the need for greater recognition and support of gramophone record collecting in Turkey, the need to combine individual efforts of collectors with institutional archives, and the need to establish cooperation between collectors and institutional archives.
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