Dogu Asya’da Bati Müzigi Hegemonyasi: Japonya, Çin ve Kore’de Müzik Reformlari
[ X ]
Tarih
2019
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Etnomüzikoloji Dernegi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bati müziginin Dogu Asya kültürlerine girisini inceleyen bu makalede, mü- zik reformlari tarihsel olgular isiginda ve modernlesme-Batililasma hege- monyasi çerçevesinde analiz edilmistir. Batili güçlerin tehditleri karsisinda bir zorunluluk olarak beliren modernlesme hareketlerinin bir parçasi olan toplumsal reformlar, temelde Batinin üstünlügü varsayimi üzerine kurulan bir kültürel hegemonya tarafindan sekillendirilmistir. Bu dönemde yeni de- gerlerin propagandasi için oldugu kadar, toplumun Batili tarzda temsili ba- kimindan da önemli bir araç olan müzik, teknolojik üstünlük ile kültürel üstünlük arasinda kurulan iliski temelinde ele alinmistir. Japonya’da basla- yan ve buradan çevre ülkelere yayilan müzik reformlari, geleneksel müzik kültürünün, bilimsel bir üstünlüge sahip oldugu iddiasina dayandirilan Bati müzigine göre düzene konuldugu ve ilkel olarak görülen geleneksel müzi- gin çogunlukla sentezleme yoluyla Batili görünüme kavusturulmaya çali- sildigi bir süreçle sekillenmistir. Bu süreçte Japonya bir model haline gelir- ken, etkisindeki ülkelerden Kore, müzigi yeniden tanimlamis, Çin ise zit ideolojiler üzerine kurulu farkli reform süreçleri deneyimlemistir. Sonuç olarak benzer durumdaki toplumlari etkisi altina almis olan Bati müzigi hegemonyasi bu etkiyi dikkate almaksizin bu müzik kültürlerinin son yüz- yilini yorumlamayi imkânsiz hale getirmistir.
In this article, which examines the introduction of Western music into East Asian cultures, Western music reforms were analyzed in the light of historical facts and in the framework of modernization and westernization hegemony. The social reforms which are appeared as a must against the threats of Western powers, are shaped by a cultural hegemony, which is fundamentally based on the assumption of the West is superior. In this pe- riod, music, which is an important tool in terms of representation of the society in Western style as well as the propagation of new values, are stud- ied on the basis of the relation built between technological superiority and cultural superiority. Musical reforms, which started from Japan and spread to the surrounding countries, is a process that traditional music culture is designed according to Western music, whose superiority is based on the claims that it is scientific, and again traditional music, which is seen primi- tive, is tried to united with Western look by way of synthesis. In this pro- cess, while Japan becoming a model, one of its influenced countries, Korea defined music again, and China experienced different reform processes based on opposing ideologies. As a result, the Western music hegemony, which took hold of similar societies, made impossible to interpret the last century of these musical cultures, without considering this effect.
In this article, which examines the introduction of Western music into East Asian cultures, Western music reforms were analyzed in the light of historical facts and in the framework of modernization and westernization hegemony. The social reforms which are appeared as a must against the threats of Western powers, are shaped by a cultural hegemony, which is fundamentally based on the assumption of the West is superior. In this pe- riod, music, which is an important tool in terms of representation of the society in Western style as well as the propagation of new values, are stud- ied on the basis of the relation built between technological superiority and cultural superiority. Musical reforms, which started from Japan and spread to the surrounding countries, is a process that traditional music culture is designed according to Western music, whose superiority is based on the claims that it is scientific, and again traditional music, which is seen primi- tive, is tried to united with Western look by way of synthesis. In this pro- cess, while Japan becoming a model, one of its influenced countries, Korea defined music again, and China experienced different reform processes based on opposing ideologies. As a result, the Western music hegemony, which took hold of similar societies, made impossible to interpret the last century of these musical cultures, without considering this effect.
Açıklama
Anahtar Kelimeler
Dogu Asya, Bati müzigi, hegemonya, modernlesme, etnomüzikoloji
Kaynak
Etnomüzikoloji Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
2
Sayı
1
