Türkiye'nin müziklerinde "makam" kavramının 1980 sonrasında kültürel anlamı

Abstract

Bu çalışma, Türkiye'de üretilen müziklerin ve bu müziklerin geleneksel bağlamda enönemli unsur ve bileşeni olan makam kavramının, tarihsel süreçte içinde üretildiğicoğrafyadaki sosyo-kültürel değişimle birlikte geçirdiği evrim sonucunda, özellikle20. yüzyılda modernleşme ve küreselleşme gibi faktörlerle uğradığı metamorfozbaşkalaşımsürecine ve bu süreç sonucunda günümüzde sosyo-kültürel bağlamdanasıl şekillendiği ve anlamlandırıldığına odaklanmaktadır.Kültürel açıdan en basit ve genel tanımıyla makam kavramı, bir toplumun kültürelözellikleri çerçevesinde üretilmiş müziksel oluşumları meydana getiren bir ifadeşekli olarak tanımlanabilir. Bu bakımdan makam kavramı, kullanıldığı başkatoplumlarda olduğu gibi, geçmişten günümüze Türkiye'nin müzik üretimleri içindede kültürel bir unsur ve gösterge niteliğinde yer almış, bu nedenle de oldukça yaygınbir uygulama alanı bulmuştur. Makam kavramı bu yönüyle kavramsal açıdan statik,uygulama açısından ise dinamik bir niteliğe sahiptir. Tarihsel süreçte Türkiye'deyaşanan kültürel değişimler, makamın kavramsal niteliklerini değiştirmezken,uygulama alanlarında belirgin değişimler yaşanmasına neden olmuştur. Bu nedenleçalışmada, Türkiye'de gerçekleşen ve kavramsal açıdan değişmezken uygulamaalanlarında değişimler görülen makamsal müzik üretimleri için genel anlamda 'TürkMakam Müziği' terimi kullanılmıştır. Bu bakımdan Türk Makam Müziği, Türkiye'degeçmişten günümüze ve dolayısıyla gelenekten popülere uzanan tarihsel çizgide,makam kavramı ve bu kavramdan hareketle meydana getirilmiş bütün müzikseloluşumları ifade ve temsil eder.Türk Makam Müziği'nin form, terminoloji, üslup/tavır, çalgı ve ses ortamı gibigeleneksel unsurları bahsedilen hızlı toplumsal etkileşim karşısında çabukçadeğişmiş ve bu değişim geleneksel ve popüler arasındaki farkları ve benzerliklerivurgulayarak farklı uçların meydana gelmesini sağlamıştır. Bu bağlamda tezin amacı,TMM uygulamalarında yaşanan değişimi, TMM'nin en önemli ve değişmeyenbelirleyici unsuru olan makam kavramından hareketle, TMM'ne ve dolayısıylamakam kavramına atfedilen sosyo-kültürel anlamı ve bu anlamı belirleyen unsurlarıortaya çıkarmak şeklinde ifade edilebilir. Bu bakımdan bahsetmiş olduğumuzkültürel değişimlerin sanatsal bir olgu olan müzik alanı üzerinden okunabileceği degöz önünde bulundurulursa, bu değişimlerin Türk Makam Müziği adı altındaki genelmakamsal uygulamaların analizi ile tespit edilebileceği de söylenebilir. Bu nedenle,öncelikle Türk Makam Müziği'nin kavramsal açıdan teknik ve teorik boyuttaifadelerinin ve bu olguyu oluşturan yapıtaşlarının anlaşılması gerekir.Bu bağlamda çalışmada, metodolojik altyapıyı oluşturan alan araştırması kapsamındabelirlenen çeşitli kişilerle yapılan görüşmeler sonucunda elde edilmiş verilerden dehareketle, TMM üzerinden makam kavramına atfedilen anlamlar tespit edilmiş, farklıbakış açılarıyla makama atfedilen bireysel ve toplumsal anlamlar üzerindenTürkiye'de makam kavramının günümüz perspektifinde anlamını belirleyen gelenek,terminoloji, ses ortamı ve kuşaklararası değişimler gibi unsurları üzerindendeğerlendirme ve analizler gerçekleştirilmiştir.

The notion of "makam" is an expression tool of musical structure that is produced bycultural peculiarities of a society in terms of cultural aspects. In that context, the"makam" term has been placed as cultural element and indicator within musicalproducts of Turkey, and it has common applying fields. By this aspect, the notion ofmakam is conceptionally static and practically dynamic element.Historically, while the cultural changes of Turkey have no impact on theconceptional qualities of makam, the changes have big impact on practical use ofmakam. By the reason, the term of "Turkish Makam Music" is used in thisdissertation for referencing to musical products with makam. So, Turkish makammusic represents and refers to the whole cluster of musical structures of makam witha historical line which lies on the past and present, traditional and popular. If we canaccept to read the cultural changes in society over the music, the changes could beconfirmed by the analysis of makam practices.This study focuses on the changing process, the structure, perception and culturalmeanings of today's Turkish Makam Music by altered with the influence ofmodernization and globalization in 20th century. In Turkish music's historicalprocess as a result of its evolution, this was occurred by socio-cultural change in itsgeography.Turkish music should be thought as a cultural fact that includes the historical processof before and after Republican times, has dynamic qualities in those periods. It hasbeen experienced to the changed cultural politics, impacts of modernization, andglobalization as being a traditional one for 800 years, has not been enough term todetermine its musical structure. By this reason, the necessity for separation ofmusical genres of Turkish music as use with makam and without makam occurredvia this dissertation.So, the term of Turkish Makam Music is suggested as sub-title of Turkish music withthe aim of restriction of meaning in it by its socio-cultural changes in especially 20thcentury. So, Turkish Makam Music, which is separated to various categories, hasonly the music with makam and traditional and popular practices. Thus there is anopportunity to determine the socio-cultural changes in the process of transitionbetween traditional and popular via the products of Turkish Makam Music.The traditional elements of Turkish Makam Music, such as form, style, sound andinstrumentation have been altered rapidly by the social interaction, and this changeunderlines the differences and similarities between popular and traditional. In thatcontext, the aim of dissertation is the change of practices in Turkish makam music bythe re-thinking of makam with socio-cultural aspects. So the main question of thisresearch is "which kind of meanings refers to the makam term with regards to thecultural dynamics of Turkey, and what are the peculiarities for the determination ofthese meanings?"By this question, the answers contains that while the theoretical meanings of makamare non-altered, the practical use of it is changeable rapidly after republican period,and especially after 1980s by technology and globalization. The rapid changes oftraditional elements by rapid social interactions provide to occur the two polesbetween traditional and popular by similarities and differences. For that reason themakam productions especially in republican period is not seen as popular line ofTurkish Makam Music and is ignored.However, it is known that the makam musics of Ottoman times are also alteredduring the centuries, and this fact is parallel with socio-cultural changes. WhileTurkish popular music industry of 20l century, such as arabesque, tavern, rock,metal or pop musical genres uses the makam structures in their products, theperception of these genres are differentiated to makam music for listeners andprofessional Makam music makers. It is seen that these differences are determined byform, style, instrumentation and sound. Thus, the determination of Turkish MakamMusic and the notion of makam has anachronical interpretations.As a qualitative study, this dissertation is organized by two main level; the process ofresearch and analysis. The date collection of research process is framed by two mainmethods: fieldwork and literature review. The analyzing process of data isestablished on the theoretical and cultural analogies.Fieldworks were done by the interviews and observations. The observations includemany mediums in which Turkish makam music performances of today, asperiodically or non-periodically. The interviews and conversations are focuses onthe meaning of makam, experiences, perspectives, and emotions of/by theseperformances.In this context, general data's that are aimed to obtain by interviews can be listed upas such:- The place and importance of Turkish Makam Music during the periods of20th century such as 60's or 80's- The scopes of Turkish Makam Music from the point of musical form, style,sound, period etc.- The terminology of Turkish Makam Music- The components which are determining and discriminating the Turkish musictypes- The status and variable components of Turkish Makam Music in the face ofsocial change (modernisation-globalisation)- The status of makam concept in Turkish popular music styles (arabesque,rock etc.)- The place of intergenerational discrepancy in the cultural meaning of TurkishMakam Music- Imputed meanings to makam concept in Turkey's musics in socio-culturalcontext and the components of these meaningsIn this regard, the first chapter of dissertation contains introduction part which isdedicated to problem question, aim, scope, and methodology of the work.The examinations of makam term as an unchangeable notion in the changeableelements in Turkish Makam Music is emphasizing in the second chapter. Thischapter is a part of analyzing and interpreting the frame of Turkish Makam Music,determinations of makam, methods of makam explanations, relationship betweentheory and practice, educational systems, style of makam from technical aspect.In the third chapter, the aim is analyzing of changes in makam term via TurkishMakam Music genres. In that context, after the scrutiny background of changes inTurkish Makam Music production circumstances, the production context of makamtried to be portraying in terms of formations, music politics and genres from Ottomantimes to present. In relation to that, the last part of this chapter is about the hicazmakam sample analysis which is chosen as a case for the musical changes viaexamples of hicaz makam songs, notes and audio tracks.In the last chapter all the data and discussions are re-thought, individual and socialmeanings that imputed to makam notion is evaluated and analyzed by means oftradition, terminology, sound and changes between generations via the interviews.In conclusion, it can be said that the cultural meaning imputed to makam concept,shaped generally in a traditional way. Because of the Ottoman time domination onTurkish music, popular Turkish music productions in 20th century are especiallyperceived as if they don't have makam structure and features. The reason of thisperception is cultural changes of society and consequently the changes of musicalproductions via the structural and audio-visual elements such as forms, lyrics, styles,sounds, instruments etc. However, even as these elements are changing, the structureof makam is using in Turkish popular music productions in progress. So, as aconsequence of that it should be considered that the makam structure is notrepresenting by these elements, but they have an impact on the cultural meanings ofmakam and this must be considered in fields which makam is used such asperformance, education etc.