LEE- Müzikoloji ve Müzik Teorisi Lisansüstü Programı

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http://hdl.handle.net/11527/19413

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Yazar "Çalışkan, Faruk" ile LEE- Müzikoloji ve Müzik Teorisi Lisansüstü Programı'a göz atma
  • Öge
    Circulation of âşık music in Turkey in 2000s: The legacy of Âşık Mahzuni- Âşık Nesimi
    (Graduate School, 2024-09-16) Çalışkan, Faruk ; Karahasanoğlu, Songül ; Seeman Tamar, Sonia ; 414172010 ; Musicology and Music Theory
    This thesis explores how the actor-networks, which re-enact the legacies of Mahzuni and Nesimi across various contexts and circumstances, have contributed the excessive circulation of âşık music in the 2000s. Each chapter is structured as a stand-alone article, offering distinct approaches and perspectives on the research questions regarding the circulation of âşık music in the 2000s. Chapter one is a self-reflexive ethnography of how I arrived at this thesis topic. This long journey reflects the many people, stories, events, instruments, and diverse experiences from my past that have shaped this academic research. By using Actor-Network Theory (ANT), I aim to demonstrate how my journey—shaped by dynamic networks and continuous influences—has impacted both my theoretical and methodological choices. ANT serves as a powerful tool because it helps me understand how my relationships with various actors are continuously reshaped. This approach allows me to dynamically explore the connections between my personal life story, the research networks I've engaged with, and how they have influenced the development of this thesis. The second chapter examines how important research on âşıks and their traditions, particularly that of Mehmed Fuad Köprülü, continues to shape the general historical narrative and serve as a guiding reference for subsequent scholarship. The chapter uses Actor-Network Theory (ANT) to critique presuppositions about âşıks and their traditions in order to understand how Köprülü's canon is actively transmitted and reconciled in contemporary research networks. Through a rigorous analysis of translations that bring together âşıks (human entities), objects (non-human entities), and discourses (non-corporeal entities), a more inclusive perspective of the past is offered, distancing itself from an exclusionary historical narrative through ANTi- History. I argue that the concept of tradition in Turkish, gelen-ek, [coming-addition] is a multi-layered interface for historiographical critique. It helps to understand the influence of actors on the production of knowledge about the past and serves as a tool for interpreting the politics of actor-networks that have a transformative impact on history-making processes. The importance of this chapter for Mahzuni and Nesimi is that it shows that although certain norms of the âşıklık tradition intersect with their stories, they reconstructed their creative agency in the context of the processes, events, and people with whom they interacted during their time. This chapter thus, highlights that their story of âşıklık that extend beyond conventional narratives, and the need to consider them from a perspective transcends the established narratives. The third chapter focuses on how Mahzuni and Nesimi's legacy became multilayered through the actors who re-enacted their works after their deaths. It examines how their songs shaped different imaginaries of the âşıks as non-human actors. To understand this dynamic process, the concept of genrefication invites us to consider the multilayered nature of Mahzuni and Nesimi's legacy and their âşıklık in an emancipatory context, particularly through the various versions of their songs. Two of Mahzuni and Nesimi's most widely circulated works were selected as case studies to illustrate this. In the in-depth interviews, open-ended questions were asked to the actors portraying Mahzuni and Nesimi, establishing a relationship between the theoretical framework and the research question. The study emphasizes the different ontological pluralism that Mahzuni and Nesimi's works have acquired and how they have different imaginations as an âşık, songs, and singers. In the fourth section, Mahzuni's life is analyzed from different aspects in the context of the actors' enactments of Mahzuni's own discursive legacy [Creator's Wish: Transformed Me]. The ontological diversity created by the versions of songs is interpreted as a richness, leading to the definition that the sum of all versions of a song constitutes the song itself. This process contributes to making Mahzuni's legacy multi-layered. The fifth chapter examines the co-existence of Nesimi and the cura instrument through the influences of both Nesimi and the different actors who played the bağlama instrument after him. This mutually constitutive process, conceptualized as Nesimi's curafication and the cura's Nesimification, is discussed in the final chapter of the thesis. In-depth interviews for this chapter were conducted with a range of individuals, including soloists, bağlama players, instrument makers, and instrument method writers. Through these interviews, the background of Nesimi's story, referred to as his "instrument and tuning," is analyzed in a relational context. This active process, which continued after Nesimi death, is explained through conceptual tools of Latour and Barad and then reconceptualized in a holistic manner using the term of Devri Daim [Perpetual Cycle], which holds deep significance in Alevi culture. Devri Daim shed light on the ongoing, transformative interactions between Nesimi, his instrument, and the broader networks of actors who enact his legacy. This perspective emphasizes the intertwined nature of the human and non-human actors that shape Nesimi's legacy, highlighting the dynamic and relational processes that define their contributions to âşık music. To summarize, Mahzuni's distinctive approach to interaction and his declaration of it as a heritage were particularly influential in motivating those who re-enacted his legacy. During the interviews, the performers highlighted Mahzuni's melodic richness and his skill in blending it with powerful lyrics. This feature is one of the primary factors in the circulation of his works and, by extension, âşık music. Additionally, the widespread dissemination of Mahzuni's voice and versions of his works across media, including TV series and movie soundtracks, party election music, tribute albums, TikTok trends, has diversified his legacy. In a digital world where these iterations resonate with audiences, it is inevitable that other actors seek to benefit from contribute to this legacy. Especially in the 2000s, the use of folk music, particularly âşık music, in TV series, and the frequent inclusion of significant âşıks such as Mahzuni and Nesimi in mainstream TV series, created a broad pool of experience for audiences. This extensive exposure significantly contributed to the circulation of âşık music and the continuation of interest in it, positioning âşıks as the object of a much wider networks. Moreover, availability of Mahzuni and Nesimi's recordings, both old and new, through video hosting sites (YouTube, Facebook, Vimeo, etc.), streaming services, and digital platforms has allowed every generation to engage with genres that fit the Mahzuni and Nesimi imaginary. This has brought the âşıks to a much wider audience. The transmissive role of an âşık like Nesimi in the formation of a genre identified as Alevi music, along with his inspirational aspect in terms of timbre, repertoire, and cura performance technique within the network, where the search for bağlama performance gained great momentum, had a significant impact in differentiating him from other âşıks. All these stories focus on the relational contextualization of ontological diversity that emerges through transformation, change, practices, alongside the active circulation of a musical genre in this process. Mahzuni and Nesimi's story is not just merely one of âşıklık; it allows to observe a range of phenomena, such as the transformation of folk music in Turkey in terms of sound, the differences in the representation of âşıklık in urban environments, and the mediation of genre experimentation in the music industry. Thus, Mahzuni and Nesimi are not simply figures within linear âşıklık tradition bound to specific circumstances, but actors collectively constructed through the effects of their practices across different time, contexts and assemblages. By examining two such unique âşıks, it becomes possible to describe the circulation of âşık music through a sociology of associations that brings together different sources of knowledge, history, people, instruments, sounds, materials, and visuals.