<\/p>\n
\u201cGeleneksel T\u00fcrk Sanat M\u00fczi\u011fi\u201d denilen m\u00fczi\u011fi niteliksel olarak ikiye ay\u0131rmak do\u011fru olur:<\/p>\n
– Klasik T\u00fcrk M\u00fczi\u011fi – Osmanl\u0131 aristokrasisinin dinsel ve ya\u015famsal m\u00fczi\u011fi.<\/p>\n
– Kendine \u201cT\u00fcrk Sanat M\u00fczi\u011fi\u201d ad\u0131n\u0131 yak\u0131\u015ft\u0131ran ticari m\u00fczik(!)…<\/p>\n
Klasik T\u00fcrk M\u00fczi\u011fi, Klasik Bat\u0131 m\u00fczi\u011finin Barok \u00f6ncesine denk, sosyolojik, k\u00fclt\u00fcrel ve dolay\u0131s\u0131yla sanatsal de\u011fer ta\u015f\u0131r.<\/p>\n
Aristokrat k\u00fclt\u00fcrden sonra, burjuva k\u00fclt\u00fcr\u00fcn\u00fcn Anadolu\u2019da yaratt\u0131\u011f\u0131 ikinci t\u00fcr, \u201cT\u00fcrk Sanat M\u00fczi\u011fi\u201d ad\u0131n\u0131 alan m\u00fczik, bug\u00fcne de\u011fin k\u00fclt\u00fcr tarihi a\u00e7\u0131s\u0131ndan gere\u011fince incelenmi\u015f de\u011fildir. \u201cM\u00fczik\u201d kavram\u0131n\u0131n i\u00e7ine al\u0131nmam\u0131\u015f, bir anlamda yok say\u0131lm\u0131\u015ft\u0131r.<\/p>\n
Genel olarak bunlardan biri, h\u0131z\u0131n\u0131 aristokrat k\u00fclt\u00fcr\u00fcn m\u00fczi\u011finden alan ve onun \u00fczerine oturan burjuva m\u00fczi\u011fi; \u00f6teki, burjuva ticari yap\u0131s\u0131n\u0131n etkisinde ortaya \u00e7\u0131kan \u201csat\u0131labilir\u201d ya da \u201csat\u0131\u015fa gelebilir\u201d m\u00fczik(!)\u2026<\/p>\n
Yozla\u015fma, ikinci yolun \u00fczerinde olu\u015fuyor: Yeterli k\u00fclt\u00fcrel altyap\u0131ya sahip olmayan ve yaln\u0131zca sat\u0131lmak i\u00e7in yap\u0131lan m\u00fczik(!)\u2026<\/p>\n
Bu d\u00f6nem, Osmanl\u0131\u2019da, burjuva k\u00fclt\u00fcr\u00fcn\u00fcn ba\u015f g\u00f6stermesiyle ba\u015flar. Yani Osmanl\u0131\u2019da, Bat\u0131c\u0131 hareketlerin ilki say\u0131labilecek L\u00e2le Devri\u2019nden sonra Klasik T\u00fcrk M\u00fczi\u011finin i\u00e7inde olu\u015fan \u201c\u015fark\u0131 formu\u201d ile belirlenmekte ve d\u00f6nemden etkilenen ya\u015fama bi\u00e7imine ko\u015fut, yeni bir t\u00fcr e\u011flence m\u00fczi\u011fi olu\u015fmaktad\u0131r.<\/p>\n
Bu formda, Dede Efendi gibi Klasik T\u00fcrk M\u00fczi\u011finin de\u011ferli bestecileri bile, \u00f6teki bestelerinin a\u011f\u0131rl\u0131\u011f\u0131nda olmayan, olduk\u00e7a hafif, \u015fark\u0131 formunda e\u011flence m\u00fczikleri besteleyeceklerdir. 20. y\u00fczy\u0131la yakla\u015ft\u0131k\u00e7a, \u201cbireysel\u201d burjuva ya\u015fam bi\u00e7iminin gitgide egemen olmas\u0131yla bu t\u00fcr, yava\u015f yava\u015f \u201cKlasik T\u00fcrk M\u00fczi\u011fi\u201d diyebilece\u011fimiz, Aristokrat k\u00fclt\u00fcrden gelen m\u00fczikten ayr\u0131lacak, \u201cLonga\u201dlar, \u201cSirto\u201dlar gibi orta s\u0131n\u0131f (burjuva) Anadolu insan\u0131n\u0131n e\u011flence m\u00fczikleri ile birle\u015fecektir (\u201cFas\u0131l\u201d denilen ve disipline edilmemi\u015f e\u011flence yorumlar\u0131n\u0131n da bu d\u00f6nemde yayg\u0131nla\u015fm\u0131\u015f oldu\u011funa dikkat \u00e7ekmek gerekir).<\/p>\n
<\/p>\n
Rum ve T\u00fcrk e\u011flence m\u00fcziklerinin -dillerin kar\u0131\u015fmas\u0131ndan olu\u015fan Rembetiko (ya da Rebetiko) bu d\u00f6nemde, 20. y\u00fczy\u0131l ba\u015flar\u0131nda ortaya \u00e7\u0131kar. \u0130slam ilahilerinin aras\u0131nda bir t\u00fcr serbest okuma say\u0131labilecek \u201cKaside\u201dler, ustas\u0131 olan haf\u0131zlar taraf\u0131ndan, l\u00e2-d\u00een\u00ee (din d\u0131\u015f\u0131) alana ta\u015f\u0131narak \u201cGazel\u201dler olu\u015fturulur ve \u201cb\u00fclb\u00fcl sesli haf\u0131z\u201d (Haf\u0131z Burhan) gibi nitelemelerle bu d\u00f6nemde g\u00fcnl\u00fck ac\u0131lar\u0131 anlatan, g\u00f6z\u00fc ya\u015fl\u0131 bir t\u00fcr e\u011flence m\u00fczi\u011fine d\u00f6n\u00fc\u015ft\u00fcr\u00fcl\u00fcr.<\/p>\n
- \n
- y\u00fczy\u0131l ortalar\u0131na do\u011fru, \u00f6teki k\u00fclt\u00fcr alanlar\u0131 -s\u00f6z gelimi edebiyatta Yahya Kemal- ile ko\u015futluk i\u00e7inde M\u00fcnir Nurettin gibi, \u015fark\u0131 formunun klasikleri yeti\u015fecek (ikisinin s\u00f6z ve beste ortakl\u0131klar\u0131 bu durumun \u00f6zel bir kan\u0131t\u0131 gibidir), daha sonra buna, klasik ile pop\u00fcler aras\u0131ndaki k\u00fclt\u00fcr ay\u0131r\u0131m\u0131 g\u00f6z ard\u0131 edilerek \u201cneo-klasik\u201d ad\u0131 verilecektir.<\/li>\n<\/ol>\n
1950\u2019li y\u0131llarda, gazinolar\u0131n geli\u015fmesi ile e\u011flence m\u00fczi\u011fi para getirmeye -rant sa\u011flamaya- ba\u015flar. Hemen ard\u0131ndan, 1960\u2019dan sonra ara\u00e7lara tak\u0131lan ve 45\u2019lik \u00e7alabilen plak\u00e7alarlar\u0131n \u00e7\u0131kmas\u0131 ile taksilerden y\u00fckselen \u201cavazeler\u201d, Zeki M\u00fcren\u2019in ve yan\u0131na halk m\u00fczi\u011finden Muzaffer Akg\u00fcn\u2019\u00fcn kat\u0131l\u0131m\u0131yla doruklar\u0131na ula\u015f\u0131r.<\/p>\n
\u0130\u015fte Arabesk denilen \u201cucube\u201d, bu d\u00f6nemin devam\u0131 olarak ortaya \u00e7\u0131kar. Art\u0131k, halk m\u00fczi\u011finin \u201cyan\u0131k\u201dl\u0131\u011f\u0131 (Anadolu t\u00fcrk\u00fcs\u00fc bestelenmez, \u201cyak\u0131l\u0131r\u201d) \u201cezik\u201dli\u011fe d\u00f6n\u00fc\u015fecek ve Arap m\u00fczi\u011finin t\u0131n\u0131lar\u0131na yakla\u015farak Arabesk ad\u0131n\u0131 alacakt\u0131r.<\/p>\n
S\u00f6z konusu yozla\u015fma, d\u00fcnya burjuva k\u00fclt\u00fcr\u00fcnde ticari m\u00fczi\u011fin yozla\u015ft\u0131rma s\u00fcreci (pop\u00fcler m\u00fczik) ile de \u00f6nemli ko\u015futluklar i\u00e7ermektedir ve bu a\u00e7\u0131dan da ele al\u0131nmal\u0131, incelenmelidir.<\/p>\n
<\/p>\n
Bat\u0131 ve Do\u011fu, iki ayr\u0131 m\u00fczik t\u00fcr\u00fc say\u0131lmal\u0131 m\u0131?<\/em><\/strong><\/p>\n
Toplumlar\u0131n ya\u015fam bi\u00e7imlerine g\u00f6re bi\u00e7imlenen m\u00fczik, Bat\u0131 ya da Do\u011fu diye ikiye ayr\u0131larak ele al\u0131nmamal\u0131d\u0131r. \u00c7\u00fcnk\u00fc yan yana ya\u015fayan toplumlar birbirini etkiler, yeni sentezler olu\u015fturur.<\/p>\n
Kemalist d\u00f6nemin, k\u00fclt\u00fcr -ve dolay\u0131s\u0131yla m\u00fczik- \u00fczerine etkisini, bug\u00fcnden bakarak ve bug\u00fcn\u00fcn de\u011ferleriyle de\u011ferlendirmek do\u011fru olmaz. Osmanl\u0131 aristokrasisinden kalan b\u00fcrokrasi k\u00fclt\u00fcr\u00fc \u00fcst\u00fcne oturmu\u015f olan Kemalist devletin \u00e7alkant\u0131l\u0131 bir d\u00f6nemden ge\u00e7mesi ve pek \u00e7ok yanl\u0131\u015f yapm\u0131\u015f olmas\u0131 do\u011fald\u0131r. Her devrimden sonra, devrim k\u00fclt\u00fcr\u00fcn\u00fcn bir yerle\u015fme s\u00fcresi vard\u0131r. 20. y\u00fczy\u0131l Anadolu devriminin d\u00fcnyadaki son burjuva devrimi olmas\u0131 nedeniyle, bu s\u00fcre\u00e7 olduk\u00e7a k\u0131sa s\u00fcrede a\u015f\u0131lm\u0131\u015ft\u0131r. Kemalist burjuva devriminden sonra neler ya\u015fand\u0131\u011f\u0131n\u0131 elbette tarih\u00e7iler ayr\u0131nt\u0131s\u0131yla ara\u015ft\u0131rmal\u0131d\u0131r. Ama bu, d\u00f6nemin, tarihsel ak\u0131\u015f i\u00e7indeki do\u011fru yeri g\u00f6zetilmeden mahk\u00fbm edilmesi gerekti\u011fi \u00f6nyarg\u0131s\u0131yla yap\u0131lamaz.<\/p>\n
<\/p>\n
Burjuva devriminin getirdi\u011fi sunum-istem d\u00f6ng\u00fcs\u00fcn\u00fcn, k\u00fclt\u00fcr \u00fczerine etkisi<\/em><\/strong><\/p>\n
Arabeske ve onu \u00f6nceleyen yap\u0131ya bakmaya \u00e7al\u0131\u015f\u0131rsak, burjuva kapitalist yap\u0131n\u0131n \u201cdaha \u00e7ok t\u00fcketme\u201d ve \u201ck\u00e2r ederek ge\u00e7im sa\u011flama\u201d \u00f6l\u00e7\u00fctleriyle devinebiliyor oldu\u011funu g\u00f6z \u00f6n\u00fcnde tutarak, \u201cinsan\u201d\u0131n, do\u011fal, \u201ckendili\u011finden\u201d gereksemesi olan sanat\u0131n \u201csunum-istem\/arz-talep\u201d \u00e7arklar\u0131 aras\u0131na s\u0131k\u0131\u015f\u0131p kalm\u0131\u015f oldu\u011funu kolayl\u0131kla g\u00f6rebiliriz. Ku\u015fkusuz bu yap\u0131n\u0131n olu\u015fmas\u0131nda, \u201cistem\/talep\u201din \u00f6nemli bir pay\u0131 olmakla birlikte, bunun \u00f6zg\u00fcr bir istem oldu\u011fu s\u00f6ylenemez. Olu\u015fmas\u0131nda \u201cistem\u201de kar\u015f\u0131, onu \u00fcretilebilene y\u00f6nlendirmek, t\u00fcketimi s\u00fcrekli diri tutmak, gereksemedan \u00e7ok daha fazlas\u0131n\u0131 t\u00fcketmesini sa\u011flamak \u00fczere \u00e7e\u015fitli burjuva\/kapitalist mekanizmalar\u0131n geli\u015ftirilmekte ve i\u015fletilmekte oldu\u011fu g\u00f6zden ka\u00e7\u0131r\u0131lmamal\u0131d\u0131r.<\/p>\n
Bu mekanizmalar\u0131n geldi\u011fi, organize ilk kayna\u011f\u0131n, Hitler\u2019in propaganda bakan\u0131 G\u00f6bbels\u2019in olu\u015fturdu\u011fu \u201cb\u00fcy\u00fck yalan\u201d kuram\u0131 oldu\u011fu unutulmamal\u0131d\u0131r. Ad\u0131 \u00f6nce \u201creklamc\u0131l\u0131k\u201d olmu\u015f, \u015fimdilerde \u201chalkla ili\u015fkiler\u201de d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Yani kapitalist yap\u0131 bu i\u015f i\u00e7in para d\u00f6kmekte ve ba\u015far\u0131l\u0131 olmaktad\u0131r. \u00dcstelik bu ba\u015far\u0131, maliyetlere eklenerek, t\u00fcketicinin, yani bizim param\u0131zla sa\u011flanmaktad\u0131r! Y\u00f6neldi\u011fi kitle ise, durumun ay\u0131rd\u0131na varamamas\u0131 i\u00e7in \u00f6zel \u00f6nlemler al\u0131nan, \u201c\u00f6rg\u00fcts\u00fcz t\u00fcketici\u201ddir. Dolay\u0131s\u0131yla yaln\u0131zca bu ticari \u00fcr\u00fcnlere bakarak, toplumun \u201cdo\u011fal k\u00fclt\u00fcrel yap\u0131s\u0131\u201dn\u0131 anlamak olanakl\u0131 de\u011fildir.<\/p>\n
Hem gazino k\u00fclt\u00fcr\u00fcne, hem Arabesk\u2019e d\u00f6nersek, Karag\u00f6z\u2019\u00fcn, \u201cOrta Oyunu\u201dnun, \u201cKukla\u201dn\u0131n, \u201cTurne Tiyatrolar\u0131\u201dn\u0131n, do\u011fal s\u00fcre\u00e7 i\u00e7inde ger\u00e7ek gereksemeden olu\u015fmu\u015f \u201ce\u011flence sunumu\u201d, bu k\u00fclt\u00fcrde yoktur. Ve tabii A\u015f\u0131k Veysel\u2019in, ger\u00e7ek gereksemelere oturmu\u015f t\u00fcrk\u00fcs\u00fcn\u00fc de bulamazs\u0131n\u0131z.<\/p>\n
K\u00fclt\u00fcr\u00fcn kendi akt\u0131\u011f\u0131 do\u011fal yol \u00fczerinde geli\u015febilece\u011fi ve geli\u015fkin bir k\u00fclt\u00fcr olu\u015fabilece\u011fi tehlikesi, sermaye i\u00e7in, \u00f6n\u00fcn\u00fcn kesilmesi gere\u011fini do\u011furmu\u015f ve kapitalist yap\u0131, \u201chalkla ili\u015fkiler\u201din \u201cb\u00fcy\u00fck yalan\u201d kuram\u0131n\u0131 kullanarak, kendi hareketlendiricisi olan k\u00e2r etme do\u011frultusunda, \u00f6n kesme \u00f6\u011felerini, al\u0131n\u0131r-sat\u0131l\u0131r m\u00fcziklerin (ve do\u011fal ki, b\u00fct\u00fcn k\u00fclt\u00fcrel yap\u0131lar\u0131n) i\u00e7ine yerle\u015ftirmeye de ba\u015flam\u0131\u015ft\u0131r.<\/p>\n
Hal Ashby\u2019nin \u201cBeing There \/ Merhaba D\u00fcnya\u201ds\u0131 gibi birka\u00e7 olumlu \u00f6rnek d\u0131\u015f\u0131nda bug\u00fcn\u00fcn komedisi, art\u0131k Charlie Chaplin\u2019in komedisinden, Shakespeare\u2019in komedisinden niteliksel olarak farkl\u0131d\u0131r ve \u00e7ok b\u00fcy\u00fck oranda, ger\u00e7ek gereksemenin de\u011fil, kendi olu\u015fturdu\u011fu istemin \u00fcr\u00fcn\u00fcd\u00fcr. \u0130smail D\u00fcmb\u00fcll\u00fc komedisi ile bug\u00fcnk\u00fc Cem Y\u0131lmaz komedisine yaln\u0131zca bak\u0131vermek, aradaki nitelik fark\u0131n\u0131 a\u00e7\u0131k\u00e7a ortaya koyabilecektir.<\/p>\n
Arabesk, pek \u00e7ok sanat dal\u0131n\u0131 kullanan \u00f6teki \u201carz\/sunum\u201d alanlar\u0131nda oldu\u011fu gibi, bu yap\u0131n\u0131n yozla\u015fm\u0131\u015f sonucudur. T\u00fcrk\u00fcn\u00fcn insanca \u201cyan\u0131k\u201dl\u0131\u011f\u0131n\u0131 \u201cezik\u201dli\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Eziklik, yan\u0131kl\u0131\u011f\u0131n ba\u015fkald\u0131r\u0131s\u0131n\u0131 ta\u015f\u0131maz. Caz m\u00fczi\u011findeki, biraz da karikat\u00fcrle karde\u015f, g\u00fclmecenin i\u00e7indeki ba\u015fkald\u0131r\u0131y\u0131 da ta\u015f\u0131maz. \u201cEziklik\u201d, i\u00e7inde, bu ezikli\u011fin kabullenilmi\u015fli\u011fini bar\u0131nd\u0131r\u0131r. Karikat\u00fcr sanat\u0131n\u0131n ard\u0131na s\u0131\u011f\u0131narak ayn\u0131 anlay\u0131\u015f\u0131n geli\u015ftirildi\u011fi G\u0131rg\u0131r<\/em> dergisi ve ard\u0131llar\u0131 ile ayn\u0131 \u00e7izgide, ayn\u0131 dura\u011fanl\u0131ktad\u0131r. \u0130\u00e7eri\u011finde, s\u00f6zlerinde \u201cdevrimci\/ilerici\u201d \u00f6\u011felerin bulunmas\u0131 aldatmacadan \u00f6teye ge\u00e7mez. \u201cBe\u011feni \u201c yerlerde s\u00fcr\u00fcnmekte, izleyicinin \u201cl\u00fcmpen\u201dden daha \u00fcst be\u011feni d\u00fczeylerine ta\u015f\u0131nmas\u0131n\u0131n \u00f6n\u00fc kesilmektedir.<\/p>\n
![\"\"](\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/06\/m2-300x168.jpg\")
Arabesk, t\u00fcrk\u00fcn\u00fcn yan\u0131kl\u0131\u011f\u0131n\u0131 ezikli\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Bu eziklik, yan\u0131kl\u0131\u011f\u0131n ba\u015fkald\u0131r\u0131s\u0131n\u0131 ta\u015f\u0131maz.<\/figcaption><\/figure>\n Oysa gelece\u011fin d\u00fcnyas\u0131n\u0131 olu\u015fturmak i\u00e7in bu yap\u0131n\u0131n mutlaka ve h\u0131zla ay\u0131rd\u0131na var\u0131lmas\u0131, durdurulmas\u0131 gerekir. Kapitalizmin \u201cg\u00fcd\u00fcml\u00fc\u201d sunum-istem i\u015fleyi\u015finin ard\u0131ndaki \u201cg\u00fcd\u00fcm\u201d\u00fc ortaya \u00e7\u0131karman\u0131n zaman\u0131 gelmi\u015f, ge\u00e7mektedir. Yok edilmeye \u00e7al\u0131\u015f\u0131lan ve ger\u00e7ek gereksemelerle olu\u015fmu\u015f her t\u00fcrl\u00fc k\u00fclt\u00fcr ve sanat kanal\u0131n\u0131n a\u00e7\u0131k tutulmas\u0131 g\u00fcn\u00fcm\u00fcz ayd\u0131n\u0131n\u0131n g\u00f6revidir.<\/p>\n
D\u00fcnyada burjuva devrimleriyle aristokrasiyi ala\u015fa\u011f\u0131 ederek burjuva d\u00fczenini olu\u015fturmu\u015f olan yap\u0131, kendi \u00e7\u00f6k\u00fc\u015f s\u00fcrecini yava\u015flatmak i\u00e7in, yine kendi olu\u015fturdu\u011fu \u201cbirey\u201d d\u00fcnyas\u0131n\u0131n zay\u0131fl\u0131klar\u0131n\u0131 kullanarak yeni ve yapay bir \u201ckul d\u00fczeni\u201d olu\u015fturmu\u015ftur. Amac\u0131, sistemi olabildi\u011fince uzun ya\u015fatmakt\u0131r, bunun i\u00e7in elinden geleni yapmakt\u0131r.<\/p>\n
K\u00fclt\u00fcrel ya da siyasal, her alanda geli\u015ftirilecek politikalar\u0131n, yozla\u015fmaya kar\u015f\u0131 sava\u015f\u0131m\u0131 g\u00f6zetmesi gerekiyor.<\/p>\n
<\/p>\n
Aristokrat-burjuva ayr\u0131m\u0131<\/em><\/strong><\/p>\n
T\u00fcrkiye\u2019de Kemalist burjuva devrimiyle d\u00f6nemini kapatt\u0131\u011f\u0131m\u0131z aristokrat s\u0131n\u0131f egemenli\u011finin ve i\u00e7inde bulundu\u011fumuz burjuva egemenli\u011finin yola \u00e7\u0131kt\u0131\u011f\u0131 temel kavramlar\u0131n ya\u015fanan k\u00fclt\u00fcre yans\u0131mas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131r. E\u011fer kendimizi \u201ckul\u201d duyumsuyorsak, \u201cefendi Tanr\u0131\u201d taraf\u0131ndan yetkilendirilenlerin y\u00f6netti\u011fi ve \u201csaray\u201ddan ald\u0131\u011f\u0131m\u0131z \u201culufe\u201dyle ge\u00e7inmeyi do\u011fal g\u00f6steren k\u00fclt\u00fcr\u00fc ya\u015f\u0131yoruz ya da en az\u0131ndan savunuyoruz demektir. Sultan\u0131n yedi\u011fi domatesi biz de yeti\u015ftiriyor olsak, bunu efendimize kar\u015f\u0131 sorumlu oldu\u011fumuzdan yapar\u0131z. Kar\u015f\u0131l\u0131\u011f\u0131nda efendi(leri)miz, herhangi bir \u015fey vermek zorunda de\u011fildir. Ya\u015famak i\u00e7in gerekseme duydu\u011funuz alt\u0131n, ak\u00e7e, para, her neyse, \u201cl\u00fctfedilmi\u015f olan\u201dd\u0131r. Aristokrat k\u00fclt\u00fcr, b\u00fct\u00fcn\u00fcyle bu k\u00fclt\u00fcrel yap\u0131n\u0131n \u00fczerine oturur. \u201cEkmek yedi\u011fimiz kap\u0131\u201d anlay\u0131\u015f\u0131 bu k\u00fclt\u00fcr\u00fcn \u00fcr\u00fcn\u00fcd\u00fcr.<\/p>\n
Aristokrasinin olu\u015fturdu\u011fu toplumda, yaln\u0131z m\u00fczik de\u011fil, k\u00fclt\u00fcr alanlar\u0131n\u0131n hepsi aristokrasinin kuca\u011f\u0131nda b\u00fcy\u00fcr, ba\u015fka \u015fans\u0131 yoktur.<\/p>\n
Ama \u201cak\u0131\u015f\u201d, s\u00f6z gelimi Beethoven\u2019da, bu k\u00fclt\u00fcre, bireysel ba\u015fkald\u0131r\u0131yla yan\u0131t verir!<\/p>\n
T\u00fcrkiye ba\u015fbakan\u0131n\u0131n, kendisini protesto edenleri zaman zaman \u201cnank\u00f6rl\u00fck\u201dle su\u00e7luyor olmas\u0131 da, aristokrat k\u00fclt\u00fcrden g\u00fcn\u00fcm\u00fcze sarkan anlay\u0131\u015f\u0131n \u00fcr\u00fcn\u00fcd\u00fcr.<\/p>\n
Anadolu insan\u0131n\u0131n \u201cburjuva\u201d s\u0131n\u0131f\u0131n\u0131 son derece ba\u015far\u0131l\u0131 bi\u00e7imde adland\u0131rd\u0131\u011f\u0131 \u201csonradan g\u00f6rme\u201d kavram\u0131n\u0131n anlatt\u0131\u011f\u0131 gibi, toplumumuzda, devlet y\u00f6neticisi Ba\u015fbakan, aristokratl\u0131\u011fa \u00f6zenmekte, yapt\u0131\u011f\u0131 her \u015feyin kendi g\u00f6revi oldu\u011funun ve bunu yapmak zorunda oldu\u011funun bilincinde olmas\u0131 gerekmesine kar\u015f\u0131n, verdi\u011fi kar\u015f\u0131l\u0131klar\u0131 \u201culufe\u201d olarak duyumsatmaya \u00e7al\u0131\u015fmaktad\u0131r.<\/p>\n
Oysa bug\u00fcn, demokratik toplumlarda, y\u00f6neticinin, y\u00f6netilenlerin hizmetinde olma ve ne yapsa yeterli olmayaca\u011f\u0131n\u0131n bilincinde olma g\u00f6revi vard\u0131r. (1)<\/p>\n
Benzer pek \u00e7ok \u00f6rnek verilebilir…<\/p>\n
Burjuva k\u00fclt\u00fcr\u00fcnde, \u201cbirey\u201d olman\u0131n bilinci geli\u015fmi\u015ftir. Zaten \u201cbirey bilinci\u201d geli\u015fmeden burjuva devrimi yapma \u015fans\u0131m\u0131z yoktur. \u00d6zg\u00fcr olmak, \u201cbirey olma\u201dn\u0131n verdi\u011fi hakt\u0131r. Ancak o zaman yeti\u015ftirdi\u011fimiz domates, Cumhurba\u015fkan\u0131na da verilse kar\u015f\u0131l\u0131\u011f\u0131 al\u0131nabilir. Ald\u0131\u011f\u0131n\u0131z, l\u00fctuf de\u011fil, kar\u015f\u0131l\u0131kt\u0131r (\u00fccret, fiyat, her neyse). Toplumsal yap\u0131 da, ancak, bu \u201ckar\u015f\u0131l\u0131k\u201d\u0131n devindirmesiyle y\u00fcr\u00fcyebilir.<\/p>\n
<\/p>\n
Osmanl\u0131 klasik m\u00fczi\u011fi ve Anadolu halk m\u00fczi\u011fi<\/em><\/strong><\/p>\n
D\u00fcnyan\u0131n her yerinde saray ve halk m\u00fczikleri, Aristokrat k\u00fclt\u00fcr\u00fcn egemen oldu\u011fu d\u00f6nemden g\u00fcn\u00fcm\u00fcze gelmi\u015ftir ve dinsel k\u00f6kenlidir. \u201cKul\u201dluk, m\u00fczik ve danstan olu\u015fan t\u00f6renlerle g\u00f6sterilir.<\/p>\n
Birey k\u00fclt\u00fcr\u00fcn\u00fcn geli\u015fmeye ba\u015flamas\u0131 ile dind\u0131\u015f\u0131, \u201cbirey\u201di \u00f6nde tutan m\u00fczik, her iki alanda da olu\u015fmaya ba\u015flar. Anadolu\u2019da bu ayr\u0131m \u00e7ok belirgindir. \u00d6zellikle Osmanl\u0131 toplumu, iki ayr\u0131 dinsel yap\u0131n\u0131n etkisindedir. K\u0131z\u0131lba\u015f T\u00fcrkmen inanc\u0131 (heterodoks) ve S\u00fcnni Saray inanc\u0131 (ortodoks), Osmanl\u0131 tarihi boyunca birbiri ile \u00e7at\u0131\u015fm\u0131\u015f iki ayr\u0131 s\u0131n\u0131fsal k\u00fclt\u00fcr dizgesidir.<\/p>\n
Ayn\u0131 yap\u0131 Avrupa k\u00fclt\u00fcr\u00fcnde de vard\u0131r. Ama Avrupa\u2019da dinsel ay\u0131r\u0131m, Alevilik-S\u00fcnnilik gibi keskin ve birbiri ile sava\u015fan k\u00fclt\u00fcrler de\u011fil, ayn\u0131 anlay\u0131\u015f zemininde \u00f6tekinin yanl\u0131\u015flar\u0131n\u0131 d\u00fczeltme sav\u0131nda, birbirini izleyen yap\u0131lard\u0131r. Protestanl\u0131\u011f\u0131n ortaya \u00e7\u0131kmas\u0131ndan sonra bile her iki dinsel k\u00fclt\u00fcr, aristokrat s\u0131n\u0131f\u0131n i\u00e7inde, Katolik papal\u0131kla feodal beyler aras\u0131nda kalm\u0131\u015ft\u0131r. Bu d\u00f6nemde halk m\u00fczikleri evrensel m\u00fczi\u011fin i\u00e7ine kadar girer. \u00d6rne\u011fin s\u00fcitlerde, \u00e7e\u015fitli halk m\u00fcziklerine bolca rastlan\u0131r. Beethoven\u2019in 6 numaral\u0131 Pastoral senfonisinde ise k\u00f6yl\u00fc danslar\u0131ndan al\u0131nt\u0131lar vard\u0131r.<\/p>\n
Sermaye (emperyalist y\u00f6neticiler, fa\u015fistler), evrensel k\u00fclt\u00fcr\u00fc, ya\u015fayarak de\u011fil, bir yandan kendilerini \u201cefendi\u201d g\u00f6sterebilmek i\u00e7in, \u00f6te yandan da t\u00fcketimi art\u0131rmak i\u00e7in reklam arac\u0131 olarak, yani \u201csonradan g\u00f6rme\u201d edas\u0131yla benimser. (2) Borusan\u2019\u0131n, hem de olduk\u00e7a kaliteli bir klasik Bat\u0131 M\u00fczi\u011fi orkestras\u0131 beslemesi, Ko\u00e7 ve Sabanc\u0131 sermayelerinin m\u00fczeleri bu t\u00fcrdendir. (3)<\/p>\n
Sanat\u0131 sermayenin elinden alman\u0131n ve \u00fcretti\u011fimiz her \u015feyin sat\u0131labilir olmas\u0131ndan kurtulman\u0131n yollar\u0131n\u0131 aramam\u0131z, uluslar (ya da \u201ckimlik\u201dler) aras\u0131ndaki ayr\u0131mlar nedeniyle ortaya \u00e7\u0131kan \u00e7at\u0131\u015fmalar\u0131 terk etmenin yollar\u0131n\u0131, politikalar\u0131n\u0131 bulmam\u0131z ve gelece\u011fe d\u00f6n\u00fck \u201cinsan\u201d temelli yap\u0131lanmalar\u0131 olu\u015fturmak i\u00e7in emek vermemiz gerekiyor. \u201c\u0130nsan i\u00e7in\u201d olu\u015facak toplumlar\u0131 ortaya \u00e7\u0131karmak zorunday\u0131z. Birbirinden ayr\u0131 \u201chalklar\u201d de\u011fil (bunun ger\u00e7ek anlam\u0131 \u201culuslar\u201dd\u0131r), tek bir halk\u0131, yani \u201cy\u00f6netilenler\u201din kendini y\u00f6netti\u011fi toplumu olu\u015fturmak, aristokrat s\u0131n\u0131f\u0131n tepemize Demokles\u2019in k\u0131l\u0131c\u0131 gibi as\u0131p gitti\u011fi \u201cdevlet\u201d denen \u00f6rg\u00fctlenme modelinden bir an \u00f6nce kurtulup kendi gereksemelerimizden yola \u00e7\u0131kan dayan\u0131\u015fmac\u0131 \u201ckamu\u201d modelinin somutla\u015ft\u0131r\u0131lmas\u0131 i\u00e7in \u00e7al\u0131\u015fmak, ara\u015ft\u0131rmalar yapmak, politikalar \u00fcretmek zorunday\u0131z. Bu ba\u011flamda \u201cGezi Direni\u015fi\u201dnden d\u00fcnya k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6\u011frenece\u011fi \u00e7ok \u015fey vard\u0131r.<\/p>\n
Ba\u015fka bir \u00e7\u0131kar yolumuz da yoktur.<\/p>\n
<\/p>\n
<\/p>\n
T\u00fcrkiye toplumunda Kemalist d\u00f6nem ve m\u00fczikteki yozla\u015fma<\/em><\/strong><\/p>\n
Kemalist d\u00f6nemin uygulamalar\u0131n\u0131 hatas\u0131yla sevab\u0131yla anlamal\u0131y\u0131z ku\u015fkusuz. Ancak onu do\u011fru sosyolojik ve k\u00fclt\u00fcrel yerine oturtarak de\u011ferlendirmek gereklidir. Yoksa yaln\u0131zca \u00f6fkelerimiz, k\u0131zg\u0131nl\u0131klar\u0131m\u0131z ve tepkilerimiz bizi yanl\u0131\u015fa g\u00f6t\u00fcr\u00fcr. Bug\u00fcn yap\u0131lmakta olan pek \u00e7ok politik yanl\u0131\u015f\u0131n, de\u011ferlendirmenin ve \u00f6nyarg\u0131lar\u0131n k\u00f6keninde de bu tutum vard\u0131r.<\/p>\n
Arabesk, 1965\u2019den sonra T\u00fcrk\u00e7e s\u00f6zl\u00fc pop\u00fcler m\u00fczikle ayn\u0131 d\u00f6nemde ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Ama\u00e7, d\u00fcnya pop m\u00fczi\u011fi ile ayn\u0131d\u0131r: Sat\u0131labilir \u201cmeta \u00fcretimi\u201d, dolay\u0131s\u0131yla k\u00e2r ve ge\u00e7im sa\u011flamak. Hepsi budur!<\/p>\n
<\/p>\n
\u201cSanat\u201d\u0131n k\u00fclt\u00fcr \u00fcr\u00fcn\u00fc olarak ortaya \u00e7\u0131k\u0131\u015f\u0131 ve geli\u015fimi\u00a0<\/em><\/strong><\/p>\n
\u201cSanat\u201d kavram\u0131n\u0131n \u201czenaat\u201dden ayr\u0131 olarak, ne zaman ba\u015flad\u0131\u011f\u0131n\u0131 ve sanatsal alandaki tarihsel d\u00f6n\u00fc\u015f\u00fcme bakacak olursak:<\/p>\n
1) Sanat, bize ula\u015ft\u0131\u011f\u0131 kadar\u0131yla, ma\u011fara \u00e7a\u011f\u0131nda, ma\u011fara resimlerindeki stilizasyonlarla ba\u015flam\u0131\u015ft\u0131r. \u201cStilizasyon\u201d, kavramlar d\u00fcnyam\u0131zdaki kar\u015f\u0131l\u0131\u011f\u0131n\u0131 anlatmak \u00fczere, d\u0131\u015f d\u00fcnyan\u0131n ara\u00e7lar\u0131n\u0131 (ses, renk, \u00e7izgi, dans vb.) kullanarak olu\u015fturulan simgelerin yarat\u0131lmas\u0131d\u0131r.<\/p>\n
2) Aristokrat s\u0131n\u0131f\u0131n b\u00fct\u00fcn\u00fcyle egemen olmas\u0131ndan hemen \u00f6nce, \u201cbireysel sanat\u201d\u0131n \u00f6nc\u00fcleri denebilecek nitelikte yap\u0131tlar\u0131n \u00f6nc\u00fcleri ortaya \u00e7\u0131km\u0131\u015ft\u0131. \u015eiirde Homeros, Sappho; tiyatroda trajedileriyle Aiskhilos, Sophokles, Euripides; komedileriyle Aristophanes, d\u00fczyaz\u0131da Herodot; felsefede Sokrates \u00f6ncesi Anadolulu d\u00fc\u015f\u00fcn\u00fcrler (\u201cfelsefe\u201d ad\u0131 daha sonra Helenler taraf\u0131ndan konulacakt\u0131r); resimde Girit ve Pompei duvar resimleri, mozaikler ve yap\u0131tlar\u0131 g\u00fcn\u00fcm\u00fcze kalmam\u0131\u015f olsa da ad\u0131n\u0131 bildi\u011fimiz Kolophon\u2019lu Apelles; yontuda Helen Polikletes okulu, Anadolu Aphrodisias okulu gibi sanat\u00e7\u0131lar ve ak\u0131mlar bunun en \u00f6nemli \u00f6rneklerindendir.<\/p>\n
3) Aristokrasinin oturmas\u0131 ile \u201cbirey\u201d olan, olabilen yaln\u0131zca \u201cTanr\u0131\u201dyd\u0131. Geri kalan herkesin kendisini \u201ckul\u201d sayd\u0131\u011f\u0131 bu k\u00fclt\u00fcrel yap\u0131da, yarat\u0131lar\u0131n b\u00fct\u00fcn\u00fc Tanr\u0131 taraf\u0131ndan vahyedilmi\u015fti. \u015eiir yaln\u0131zca kutsal kitaplard\u0131 (\u00fcnl\u00fc \u00f6rne\u011fi, Kuran<\/em>\u2019da, \u015fairlerinin lanetlenmesidir). O da Tanr\u0131 taraf\u0131ndan yaz\u0131l\u0131r ve vahyedilirdi. Anadolu\u2019da 13. y\u00fczy\u0131la, Yunus Emre\u2019ye de\u011fin sanatta olsun, felsefede olsun, yarat\u0131lar\u0131n hi\u00e7biri imzalanmazd\u0131. \u0130mzalamak Tanr\u0131ya \u00f6zg\u00fcyd\u00fc; sayg\u0131s\u0131zl\u0131k, ay\u0131p, g\u00fcnah say\u0131l\u0131rd\u0131. \u0130ran k\u00fclt\u00fcr\u00fcnde ise yarat\u0131c\u0131, kendi bireysel ad\u0131n\u0131 kullanmaz, \u201cTanr\u0131n\u0131n vahyini g\u00f6nderdi\u011fi kul\u201d anlam\u0131nda, kendine \u00f6zg\u00fc bir \u201cmahlas\u201d kullan\u0131rd\u0131. Bu gelenek daha sonra Anadolu\u2019da toplumsalla\u015fmakta olan \u201cbirey\/ben\u201d k\u00fclt\u00fcr\u00fcn\u00fc etkileyecek, ba\u015f a\u015fa\u011f\u0131 edilecek ve \u201cimza\u201dya d\u00f6n\u00fc\u015ft\u00fcr\u00fclerek kullan\u0131lacakt\u0131r.<\/p>\n
![\"\"](\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/06\/m6-300x205.jpg\")
Sanat, ma\u011fara resimlerindeki stilizasyonlarla ba\u015flar.<\/figcaption><\/figure>\n 4) R\u00f6nesans (yeniden do\u011fu\u015f)\u2019da \u201cyeniden do\u011fan\u201d, i\u015fte bu \u201cbirey\u201d k\u00fclt\u00fcr\u00fcd\u00fcr (bkz:http:\/\/omer-tuncer.blogspot.com\/2007\/11\/anadoluda-yeniden-dou.html).<\/p>\n
5) Aristokrat s\u0131n\u0131f\u0131n egemenli\u011finde, d\u00e2hi sanat\u00e7\u0131lar ve biliminsanlar\u0131, ya\u015famlar\u0131n\u0131 soylular\u0131n deste\u011fiyle ge\u00e7irmek zorunda kal\u0131yordu. Bunun d\u0131\u015f\u0131nda ya\u015fama \u015fans\u0131 yoktu. Bug\u00fcn, burjuva toplumlar\u0131nda biliminsanlar\u0131 ve sanat\u00e7\u0131lar\u0131n \u00fcr\u00fcnlerini satarak ge\u00e7inmek zorunda oldu\u011fu gibi… D\u00f6nemin yap\u0131s\u0131nda \u201cbirey\u201din zorlanmas\u0131 do\u011fald\u0131r. (bkz: http:\/\/omer-tuncer.blogspot.com\/2009\/01\/telif-haklar-konusunda-aykr-dnceler.html)<\/p>\n
6) Sanat yap\u0131tlar\u0131nda \u201cisyan\u201d\u0131n g\u00f6r\u00fclmesi i\u00e7in \u201cbirey\u201d k\u00fclt\u00fcr\u00fcn\u00fcn ba\u015flam\u0131\u015f olmas\u0131 gerekmi\u015ftir. \u00d6rnek olarak, Beethoven\u2019in tek Operas\u0131 Fidelio<\/em>\u2019nun burjuva devrimi fonunda ge\u00e7en \u00f6yk\u00fcs\u00fcne bakmak yeterli olacakt\u0131r. Osmanl\u0131\u2019da isyan \u015fiirleri y\u00fcz\u00fcnden kellesinden olmu\u015f divan \u015fairi az de\u011fildir. Kanuni\u2019nin, o\u011flu \u015eehzade Mustafa\u2019y\u0131 \u00f6ld\u00fcrtmesi \u00fczerine onu \u00f6nder sayan bir kad\u0131n \u015fairin Kanuni\u2019ye isyan\u0131 ilgin\u00e7tir. Sultan\u2019\u0131n g\u00f6zdesi H\u00fcrrem\u2019e \u201cRus Cad\u0131s\u0131\u201d diyecek denli ki\u015fiseldir, ba\u015fkald\u0131r\u0131d\u0131r…<\/p>\n
<\/p>\n
Zulmedip ol nev civana eyledin cevr-i feza<\/em><\/p>\n
Boynuna takt\u0131n kemendi can\u0131na k\u0131ld\u0131n eza<\/em><\/p>\n
Merhametsiz \u015fah-\u0131 alem, n\u2019etti sultan Mustafa<\/em><\/p>\n
Bir Rus cad\u0131s\u0131n\u0131n s\u00f6z\u00fcn kula\u011f\u0131na koyup<\/em><\/p>\n
Nekr \u00fc ale alunuben ol acuzeye uyup<\/em><\/p>\n
\u015eevkat imand\u0131r bilurken k\u0131lmad\u0131n havf \u00fc H\u00fcda<\/em><\/p>\n
![\"\"](\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/06\/m4-300x196.jpg\")
Kilise m\u00fczi\u011finden yola \u00e7\u0131kan Klasik Bat\u0131 M\u00fczi\u011fi, g\u00fcn\u00fcm\u00fczde bilim gibi akademik bir yap\u0131d\u0131r.<\/figcaption><\/figure>\n 7) Anadolu halk m\u00fcziklerine gelince: Anadolu\u2019da Osmanl\u0131\u2019n\u0131n kurulu\u015funu ger\u00e7ekle\u015ftirmi\u015f olan 13. y\u00fczy\u0131l k\u00fclt\u00fcr\u00fcn\u00fcn aristokrat kar\u015f\u0131devrime direni\u015fi s\u00f6z konusudur (bkz: http:\/\/omer-tuncer.blogspot.com\/2007\/12\/kardevrime-direnen-filozof-eyh.html). Ayr\u0131ca bunu yapabilmek i\u00e7in bir ba\u015fka \u201cegemen\u201din kullu\u011funu kabul etmek zorunda olduklar\u0131 da g\u00f6zden ka\u00e7mamal\u0131d\u0131r: Pir Sultan\u2019\u0131n \u015fiirlerindeki \u201c\u015fah\u201d\u0131n, \u015eah \u0130smail oldu\u011funu unutmamak gerekir. Hem ba\u015fka t\u00fcrl\u00fc davranmay\u0131 bilecekleri yeni bir k\u00fclt\u00fcr hen\u00fcz geli\u015fmemi\u015fti; hem de \u201c\u015fah\u201dda bulmay\u0131 umduklar\u0131 \u015fey 13. y\u00fczy\u0131l Anadolu k\u00fclt\u00fcr\u00fcyd\u00fc ki do\u011fmakta olan \u201cbirey\u201d k\u00fclt\u00fcr\u00fcnden \u00e7ok g\u00fc\u00e7l\u00fc \u00f6\u011feler i\u00e7eriyordu.<\/p>\n
Ya\u015fad\u0131\u011f\u0131m\u0131z d\u00f6nemde ise, Marksist kurama kar\u015f\u0131n, \u201cak\u0131\u015f\u201d\u0131 temel alan gelece\u011fin k\u00fclt\u00fcr\u00fcn\u00fc hen\u00fcz olu\u015fturabildi\u011fimizi s\u00f6ylemek zordur.<\/p>\n
<\/p>\n
Emperyalizm ve m\u00fczik<\/em><\/strong><\/p>\n
1) D\u00f6nemimizde \u201cemperyalizm\u201din art\u0131k uluslararas\u0131nda de\u011fil s\u0131n\u0131flar aras\u0131nda oldu\u011funu saptamakta yarar var. Bu ba\u011flamda \u201cbiz\u201di s\u00f6m\u00fcrmekte olan d\u00fc\u015fman\u0131m\u0131z art\u0131k \u201cAmerika\u201d ya da \u201cAvrupa Birli\u011fi\u201dnin uluslar\u0131 ya da \u00fclkeleri de\u011fil, T\u00fcrkiye burjuvazisinin de i\u00e7inde oldu\u011fu sermaye s\u0131n\u0131f\u0131, yani d\u00fcnya burjuvazisidir.<\/p>\n
2) S\u00f6m\u00fcr\u00fclmekte olan \u201cbiz\u201d ise yaln\u0131zca T\u00fcrkiye\u2019de ya\u015fayan \u201c\u00fcretime eme\u011fiyle kat\u0131lanlar\u201d ya da \u201ceme\u011fiyle ge\u00e7inenler\u201d de\u011fil, Amerika ve Avrupa dahil b\u00fct\u00fcn d\u00fcnyada ya\u015famakta olan \u201ceme\u011fiyle ge\u00e7inenler\u201d, s\u00f6m\u00fcr\u00fc ba\u011flam\u0131nda ele al\u0131rsak \u201ct\u00fcketiciler\u201ddir.<\/p>\n
3) Emperyalizmi h\u00e2l\u00e2 \u201culuslararas\u0131nda ya\u015fanan s\u00f6m\u00fcr\u00fc\u201d olarak g\u00f6sterme politikas\u0131n\u0131n ba\u015far\u0131lmas\u0131 i\u00e7in avu\u00e7 dolusu para d\u00f6ken, \u201ct\u00fcketiciler\u201di olabildi\u011fince uzun s\u00fcre s\u00f6m\u00fcrmeye devam etmek isteyen emperyalist yap\u0131 da d\u00fcnya sermaye d\u00fczeninin ta kendisidir.<\/p>\n
Bunun sermaye sahibi insanlar bile de\u011fil, sermaye d\u00fczeninin mekanik yap\u0131s\u0131ndan geldi\u011fini, kendini s\u00fcrd\u00fcrebilmek i\u00e7in buna gereksemesi oldu\u011funu g\u00f6rmemiz olas\u0131d\u0131r (bu konuyu toplumbilimcilerin ve ekonomistlerin daha ayr\u0131nt\u0131l\u0131 ara\u015ft\u0131rmas\u0131 gerekir).<\/p>\n
Bu saptamalar\u0131 yapt\u0131ktan sonra biraz daha ileri gidersek:<\/p>\n
1) Klasik Bat\u0131 M\u00fczi\u011fi ad\u0131n\u0131 verdi\u011finiz m\u00fczik, bug\u00fcn art\u0131k \u201cbilim\u201d gibi akademik bir yap\u0131d\u0131r. Avrupa kilise m\u00fczi\u011finden yola \u00e7\u0131km\u0131\u015f, aristokrat k\u00fclt\u00fcr\u00fcn egemen oldu\u011fu d\u00f6nemde saraylarda dolanm\u0131\u015f olmakla birlikte, Barok d\u00f6nemi ya\u015fam\u0131\u015f, geli\u015fmi\u015f ve halk m\u00fczikleri de i\u00e7inde olmak \u00fczere b\u00fct\u00fcn d\u00fcnya m\u00fcziklerini kapsayan evrensel bir m\u00fczi\u011fe d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.<\/p>\n
2) Klasik Bat\u0131 M\u00fczi\u011fi ad\u0131n\u0131 verdi\u011fimiz m\u00fczi\u011fin, emperyalizm ile ilgisi yoktur. Bunu, D\u00fcnyan\u0131n her yan\u0131nda bilimin, ileti\u015fimin geli\u015fmesi sonucunda bir araya gelmesine benzetebiliriz. Evrensel m\u00fczik art\u0131k dinsel m\u00fczikleri de, saray m\u00fcziklerini de, halk m\u00fcziklerini (\u00f6rne\u011fin Sarasate\u2019nin Zigeunerweisen\/Gipsy Airs<\/em>\u2019i) de kapsayan ve onlar\u0131n \u00fczerinde yer alan geli\u015fkin, evrensel bir sanat t\u00fcr\u00fcd\u00fcr; buna evrensel ya da akademik m\u00fczik demek daha do\u011fru olacakt\u0131r. Art\u0131k Ruhi Su\u2019nun b\u00fct\u00fcn t\u00fcrk\u00fclerinde, Faz\u0131l Say\u2019\u0131n Kara Toprak<\/em>\u2019\u0131nda Anadolu halk m\u00fczi\u011fini, yine Faz\u0131l Say\u2019\u0131n \u0130stanbul Senfonisi<\/em>\u2019nde (4) hem saray m\u00fczi\u011fini hem de halk m\u00fczi\u011fini bir arada bulabiliyoruz.<\/p>\n
3) Tan\u0131m\u0131n\u0131 yukar\u0131da vermeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m, s\u0131n\u0131flar aras\u0131ndaki s\u00f6m\u00fcr\u00fc d\u00fczeni olarak emperyalizmin t\u0131kamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131, insan\u0131 \u201cinsan\u201d (Alevilikte \u201c\u0130nsan-\u0131 K\u00e2mil\u201d, Nietzsche\u2019de \u201c\u00dcstinsan\/\u00dcbermensch\u201d) yapan yol budur. Kendini evrenselle\u015ftirerek, durmadan b\u00fcy\u00fcmek zorunda olmas\u0131 nedeniyle s\u0131n\u0131rlar\u0131 ortadan kald\u0131rmaya \u00e7al\u0131\u015fan k\u00fcresel sermaye, \u201cinsan\u201dlar\u0131n evrenselle\u015fmesini (klasik anlamda Marksist enternasyonalizm) olabildi\u011fince durdurmaya \u00e7al\u0131\u015fmakta, bunu da \u201culusal\u201d s\u0131n\u0131rlar\u0131 olabildi\u011fince uzun s\u00fcre sa\u011flamla\u015ft\u0131r\u0131p ayakta tutarak, dahas\u0131 hen\u00fcz olu\u015fmam\u0131\u015f s\u0131n\u0131rlar\u0131 olu\u015fturmaya \u00e7al\u0131\u015farak yapmakta, bunun i\u00e7in \u00f6zel politikalar geli\u015ftirmektedir. Bunlar\u0131n en yayg\u0131n\u0131, uluslar\u0131n birbirine d\u00fc\u015f\u00fcr\u00fclmesidir. B\u00f6ylece silah t\u00fcketimini de olabildi\u011fince uzun s\u00fcre ayakta tutarak, sava\u015f\u0131n besledi\u011fi k\u00fcresel ekonomiyi ayakta tutmaya \u00e7al\u0131\u015fmakta, bir ta\u015fla birden fazla ku\u015f vurmaktad\u0131r.<\/p>\n
\u201c\u0130nsanl\u0131k\u201d olarak i\u00e7ine d\u00fc\u015f\u00fcr\u00fcld\u00fc\u011f\u00fcm\u00fcz, ama h\u0131zla kurtulmam\u0131z gereken tuzak budur.<\/p>\n
<\/p>\n
K\u00fclt\u00fcrde ve sanatta \u201csoyutlama\u201dn\u0131n psikolojisi<\/em><\/strong><\/p>\n
Sanat\u0131n do\u011fal bir gerekseme sonucu ortaya \u00e7\u0131km\u0131\u015f oldu\u011funu, g\u00fcn\u00fcm\u00fcze de\u011fin, k\u00fclt\u00fcrel ve biyolojik geli\u015fmeye ko\u015fut olarak, \u00e7a\u011flar i\u00e7inde ilerledi\u011fini, geli\u015fti\u011fini s\u00f6yleyebiliriz.<\/p>\n
S\u0131n\u0131fsal k\u00fclt\u00fcrlerin ak\u0131\u015f i\u00e7inde de\u011fi\u015fmesinden gelen de\u011fi\u015fiklikler, sanat\u0131n bi\u00e7imini de etkilemi\u015ftir. Kimi zaman \u015faman doktorun hastas\u0131n\u0131 iyile\u015ftirmek i\u00e7in do\u011fal g\u00fc\u00e7lere yapt\u0131\u011f\u0131 duadaki i\u00e7tenlikte; kimi zaman Afrika kabilesinde insan ya da hayvan kurban\u0131nda ve kurban edenin ba\u011f\u0131\u015flanmas\u0131 i\u00e7in yap\u0131lan duada; \u201cs\u00f6yleme g\u00fcc\u00fc\u201dn\u00fcn yeterli olmad\u0131\u011f\u0131 ortamlarda; kimi zaman ma\u011fara duvar\u0131na, belki de yine ava gitmeden \u00f6nce do\u011fal g\u00fc\u00e7lere haber g\u00f6ndermek amac\u0131yla yap\u0131lan betimlemelerde dans, m\u00fczik, ya da resim sanatlar\u0131 geli\u015fir. Danslar, \u00e7\u0131kar\u0131lan sesler, \u00e7izilen ya da boyanan \u015fekiller, hepsi insan beyninin \u00fcr\u00fcn\u00fc olan ve \u201csoyutlama\u201d ad\u0131n\u0131 verdi\u011fimiz etkinli\u011fin sonu\u00e7lar\u0131d\u0131r.<\/p>\n
Belki insan\u0131n bir tan\u0131m\u0131n\u0131 da \u201csoyutlama yapabilen hayvand\u0131r\u201d diye vermek yanl\u0131\u015f olmaz…<\/p>\n
Beyin bir\u00e7ok soyutlama yapar. Bunlar\u0131n hepsi \u201csanat\u201d olmak zorunda de\u011fildir. S\u00f6z gelimi \u201cdil\u201d bir soyutlamad\u0131r. Bilimlerin kulland\u0131\u011f\u0131 kimi kavramlar soyutlamalard\u0131r. \u00d6zellikle de matematik, geometri, mant\u0131k, b\u00fct\u00fcn i\u015flemlerini soyutlamalar \u00fczerinden yapar.<\/p>\n
\u201cSanat\u201d bunlardan ayr\u0131 olarak \u201cya\u015fam\u201d\u0131n payla\u015f\u0131lmas\u0131 i\u00e7in yap\u0131lan soyutlamad\u0131r. Ortaya \u00e7\u0131k\u0131\u015f\u0131nda \u201cco\u015fku\u201d vard\u0131r. Bilimsel soyutlamalar\u0131 ise \u201cak\u0131l\u201d var eder. Her iki soyutlama t\u00fcr\u00fc de bir \u201cdil\u201d olu\u015fturmak i\u00e7in var olur. Biri duyunun (d\u0131\u015f d\u00fcnyan\u0131n), \u00f6teki duyarl\u0131\u011f\u0131n (i\u00e7 d\u00fcnyan\u0131n) dilidir. Duyusal dilin amac\u0131 bilgi aktarmak, duyarl\u0131\u011f\u0131n amac\u0131 ise ya\u015fam\u0131 payla\u015fmak, kendi \u00f6z ya\u015fam\u0131n\u0131 ba\u015fka g\u00fc\u00e7lere (insan, do\u011fa, Tanr\u0131) aktarmakt\u0131r. Ancak ne yapsa g\u00fcc\u00fc, buna tam olarak yetmez. \u00c7\u00fcnk\u00fc duyarl\u0131k i\u00e7seldir ve d\u0131\u015fsalla\u015ft\u0131rmak i\u00e7in mutlaka d\u0131\u015f evrenin elemanlar\u0131na gerek vard\u0131r (Bkz: Prof. Dr. Necdet S\u00fcmer, \u201cSanatsal Etkinli\u011fin Do\u011fas\u0131 \u00dczerine\u201d, Bilim ve \u00dctopya<\/em>, Eyl\u00fcl 2003, Say\u0131:111)<\/em>. Sanatlar\u0131n yaln\u0131zca bu d\u0131\u015fsal yan\u0131 i\u015flenebilir. Asl\u0131na bakarsak, sanatlar\u0131 birbirinden ay\u0131ran da yaln\u0131zca bu yand\u0131r.<\/p>\n
Yani hangi sanat ve hangi d\u00f6nem olursa olsun, \u00f6z\u00fc ayn\u0131d\u0131r ve \u201cinsan\u201dd\u0131r. Hi\u00e7 ku\u015fkusuz, i\u00e7inde ya\u015fad\u0131\u011f\u0131 sosyal s\u0131n\u0131ftan, sosyal s\u0131n\u0131f\u0131n\u0131n olu\u015fturdu\u011fu k\u00fclt\u00fcrden etkilendi\u011fi bi\u00e7imiyle insan… Siyasal yap\u0131s\u0131yla, be\u011fenileriyle, nefretleriyle, isyanlar\u0131yla, ho\u015flanmalar\u0131yla \u201cinsan ya\u015fant\u0131lar\u0131\u201d…<\/p>\n
<\/p>\n
Sosyal s\u0131n\u0131flar\u0131n k\u00fclt\u00fcre ve sanata etkisi<\/em><\/strong><\/p>\n
Elbette d\u0131\u015fsal olan yan kendi k\u00fclt\u00fcr\u00fcnden etkilenecektir. Egemenlerin, halk\u0131n ya da s\u0131n\u0131flar\u0131n k\u00fclt\u00fcr\u00fc, bu yan\u0131nda kalacakt\u0131r. Ahmet Ha\u015fim\u2019de var olan h\u00fcz\u00fcn, her ne denli ona, \u201cikinci serseri\u201d ad\u0131n\u0131 takm\u0131\u015f da olsa Naz\u0131m Hikmet\u2019te de bir ba\u015fka bi\u00e7imde var olacakt\u0131r.<\/p>\n
D\u00fcnyan\u0131n hi\u00e7 bir yerinde, bu arada bizim toplumumuzda da, halk k\u00f6kenli sanatlar ile saray k\u00f6kenli sanatlar\u0131 birbirinden ay\u0131rmaya ve birinden yana tav\u0131r almaya ne hakk\u0131m\u0131z, ne de \u015fans\u0131m\u0131z vard\u0131r. Divan \u015fiirimiz de, Osmanl\u0131 Saray m\u00fczi\u011fimiz de bizimdir; halk \u015fiirimiz, halk m\u00fczi\u011fimiz de\u2026 (burada s\u00f6z konusu olan, yaln\u0131zca Anadolulu olanlar de\u011fil, b\u00fct\u00fcn d\u00fcnyada ya\u015fayan \u201cbiz\u201ddir) En i\u00e7ten duygular\u0131n\u0131 en bireysel duyarl\u0131klar\u0131n\u0131 payla\u015fan m\u00fczik de \u201cbiz\u201dimdir, inand\u0131\u011f\u0131 politik g\u00f6r\u00fc\u015fe insanlar\u0131 \u00e7ekmek i\u00e7in ajitasyon amac\u0131yla yap\u0131lm\u0131\u015f olan\u0131 da…<\/p>\n
\u201cBizim olmayan sanat var m\u0131d\u0131r?\u201d sorusunun yan\u0131t\u0131 bu durumda zor de\u011fildir: \u201cBizim olmayan\u201d sanat, ayn\u0131 zamanda \u201csanat olmayan\u201dd\u0131r. \u201cBiz\u201dim sanat\u0131m\u0131za benzer bi\u00e7imde, d\u0131\u015fsal \u00f6\u011felerle ve yaln\u0131zca \u201cd\u0131\u015fsal \u00f6\u011felerle\u201d olu\u015fturulan \u201cmeta\u201dlarsa \u201csanat\u201d kavram\u0131n\u0131n d\u0131\u015f\u0131nda kal\u0131r. Tek \u00f6l\u00e7\u00fct budur.<\/p>\n
Arabeski de\u011ferlendirirken \u00f6l\u00e7\u00fct\u00fcm\u00fcz yine ayn\u0131d\u0131r. \u201cEgemenler\u201d tam olarak devrededir. Bug\u00fcn\u00fcn egemeni, burjuva k\u00fclt\u00fcr\u00fc, ya\u015fama enerjisini sa\u011flayan k\u00e2rl\u0131l\u0131k \u00f6l\u00e7\u00fct\u00fcne g\u00f6re ve kendi ekonomik yap\u0131s\u0131na uygun olarak, meta yaratmaya olanak veren, bunu zorlayan bir yap\u0131d\u0131r. Dolay\u0131s\u0131yla da, \u201cinsan olan\u201d\u0131n \u00fcretti\u011fi ger\u00e7ek sanat\u0131n i\u00e7eri\u011fini yok ederek yaln\u0131zca \u201cbi\u00e7im\u201dden, yani kendi istedi\u011fi d\u0131\u015fsal \u00f6\u011felerden olu\u015fan bir meta, yapay bir sanat olu\u015fturmaya \u00e7al\u0131\u015fmaktad\u0131r. Bu tutum da k\u00fclt\u00fcr\u00fcn geli\u015fmemesi i\u00e7in \u00f6n\u00fcn\u00fc kesmeye \u00e7al\u0131\u015fmakla ayn\u0131 \u015feydir.<\/p>\n
K\u00fclt\u00fcrlere bakarak yap\u0131lan Bat\u0131-Do\u011fu ayr\u0131mlar\u0131 olsun, ulusal s\u0131n\u0131rlar olsun, ulusal k\u00fclt\u00fcr ayr\u0131mlar\u0131 olsun, biraz geri \u00e7ekilip bak\u0131nca \u201cyapay ayr\u0131mlar\u201dd\u0131r. Bu ba\u011flamda, art\u0131k d\u00fcnyan\u0131n \u00fczerinde hangi kaynaktan gelmi\u015f olursa olsun, m\u00fczi\u011fi, do\u011fdu\u011fu kaynaklara g\u00f6re birbirinden ay\u0131rmak, gelece\u011fi de\u011fil ge\u00e7mi\u015fi \u00f6l\u00e7\u00fct alarak de\u011ferlendirmek do\u011fru olmaz. Egemenlerin ekme\u011fine ya\u011f s\u00fcren ve kurtulmam\u0131z gereken \u201ctuzak\u201d budur.<\/p>\n
![\"\"](\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/06\/m3-162x300.jpg\")
Halk k\u00f6kenli sanatlar ile saray k\u00f6kenli sanatlar\u0131 birbirinden ay\u0131r\u0131p birinden yana tav\u0131r almamak gerekir.<\/figcaption><\/figure>\n Bu ba\u011flamda Sibirya Yakut\u2019lar\u0131n\u0131n bo\u011faz \u00e7almas\u0131yla Afrika tam tamlar\u0131n\u0131, ya da Amerikan zencilerinin pamuk tarlalar\u0131nda s\u00f6yledikleri \u015fark\u0131lar\u0131, \u201cblues\u201du ya da onlardan geli\u015fmi\u015f klasik caz\u0131 nas\u0131l birbirinin devam\u0131 olarak g\u00f6rebiliyorsak, Barok d\u00f6nemi ya\u015fam\u0131\u015f olan evrensel m\u00fczi\u011fi de aristokratlar\u0131n ya da emperyalistlerin m\u00fczi\u011fi diye d\u0131\u015fta tutamay\u0131z. Ya\u015fanm\u0131\u015f olan geli\u015fmi\u015flik, elbette d\u00fcnyan\u0131n bu y\u00f6resinde ya\u015famakta olan insanlar\u0131n m\u00fczi\u011fini de i\u00e7ine alacak ve \u201cevrensel biz\u201de, gelece\u011fe, evrensel k\u00fclt\u00fcre do\u011fru g\u00f6t\u00fcrecektir.<\/p>\n
D\u0131\u015fsal, bi\u00e7imsel yan\u0131 \u00fczerinde yapay olarak y\u00fcr\u00fct\u00fclen tart\u0131\u015fmalar\u0131 uzatmadan d\u00fcnyan\u0131n bizim ya\u015fad\u0131\u011f\u0131m\u0131z y\u00f6resinde geli\u015fmi\u015f olan halk ya da saray m\u00fczi\u011fi de i\u00e7inde olmak \u00fczere \u201ci\u00e7sel\u201d yap\u0131n\u0131n hangi d\u0131\u015fsal \u00f6\u011felerle geli\u015ftirilebilece\u011fi \u00fczerinde \u00e7al\u0131\u015fmak gerekir. G\u00fcn\u00fcm\u00fczde bunu yapabilen de k\u00f6keni ne olursa olsun, evrensel m\u00fcziktir. Ticari olmaktan ar\u0131nm\u0131\u015f, para kazanmak i\u00e7in yap\u0131lmayan, ama gene de yap\u0131lma sava\u015f\u0131m\u0131 s\u00fcrd\u00fcr\u00fclen evrensel m\u00fczik. Art\u0131k bu, ne Bat\u0131 ne Do\u011fu, ne \u0130talyan, ne Japon, ne T\u00fcrk, ne Afrika; ama hem Do\u011fu, hem Bat\u0131, hem \u0130talyan, hem Japon, hem T\u00fcrk, hem Afrika m\u00fczi\u011fidir. Hem de bunlardan kaynaklanan her t\u00fcrl\u00fc m\u00fcziktir. Gelece\u011fin d\u00fcnyas\u0131nda hepimiz \u201cbir\u201diz.<\/p>\n
<\/p>\n
K\u00fclt\u00fcr kar\u015f\u0131s\u0131nda politik tutum ne olmal\u0131d\u0131r?<\/em><\/strong><\/p>\n
\u201cSol\u201d, gelece\u011fin d\u00fcnyas\u0131n\u0131 yaratman\u0131n, gelece\u011fi kurman\u0131n kavgas\u0131d\u0131r. Bu tutum d\u0131\u015f\u0131nda kalan ge\u00e7mi\u015fe (d\u00fcne ve bug\u00fcne) ba\u011fl\u0131 her t\u00fcrl\u00fc d\u00fc\u015f\u00fcnsel yap\u0131, \u201csa\u011f\u201dda kal\u0131r. \u0130stesek de istemesek de… \u201c\u015eu, egemenden geliyor; \u015fu, halktan\u201d gibi ay\u0131r\u0131mlarla \u00f6zellikle sanata bakamay\u0131z. Ana ayr\u0131m, \u00fcretti\u011fimiz sanat\u0131n, o egemenin ya da halk\u0131n sosyal d\u00fcnyas\u0131nda nas\u0131l bir yere oturdu\u011fudur. En u\u00e7 \u00f6rnek, Hitler\u2019in belgeselcisi Leni Riefenstahl\u2019\u0131n yapt\u0131\u011f\u0131 belgesellerdir. Onu, \u201cHitler\u2019in propaganda belgeselcisi\u201ddir diye, hi\u00e7bir belgeselci yok saymaz, sayamaz. Vard\u0131r ve tarihte bir yerdedir. Bug\u00fcn\u00fcn belgeselcili\u011finin olu\u015fmas\u0131nda Leni Riefenstahl\u2019\u0131n da \u00f6nemli pay\u0131 vard\u0131r.<\/p>\n
Tam bu noktada sevgili Can Y\u00fccel\u2019in Ezra Pound \u00fczerine bir de\u011ferlendirmesini eklemeliyim:<\/p>\n
\u201cPound; Ezra (1885-1972)<\/p>\n
Kendisi Amerikal\u0131. Ama daha ziyade tarihe, \u015fiir tarihine sahip \u00e7\u0131kan soylu bir Avrupal\u0131. Pound\u2019un \u00c7in gelene\u011fi i\u00e7inden umulmad\u0131k parodiler yaratmas\u0131na da engel de\u011fildir elbet. \u0130mgeci diye adland\u0131r\u0131lan bir okulun eleba\u015f\u0131 mevkisi. Gene de Eluard d\u00fczeyinde bir b\u00fcy\u00fck \u015fairin arkada\u015f\u0131, y\u00fcrek destekleyicisidir. Pound\u2019un \u0130kinci D\u00fcnya Harbi\u2019nde Roma Radyosu\u2019nda Fa\u015fizm ad\u0131na yapt\u0131\u011f\u0131 s\u00f6zc\u00fcl\u00fck, bu b\u00fcy\u00fck \u015fairin g\u00f6z\u00fcm\u00fczden silinmesine yol a\u00e7m\u0131\u015f olsa bile, Pound\u2019u bu naneye s\u00fcr\u00fckleyen \u015fey, Burjuvaziye, Kapitalizme, tefeci Yahudili\u011fe kar\u015f\u0131 duydu\u011fu \u00f6fkedir. Bunun da kefaretini, uzun s\u00fcre, bir Amerikan ak\u0131l hastanesinde yatarak \u00e7ekmi\u015ftir, bir kafes i\u00e7inde…<\/p>\n
\u201cCantos adl\u0131 uzun \u015fiiri, san\u0131r\u0131m azg\u0131n Amerikal\u0131\u2019lar\u0131n ya da Fa\u015fist\u2019lerin de\u011fil, D\u00fcnya\u2019da s\u00f6m\u00fcr\u00fcye kar\u015f\u0131 \u00e7\u0131kanlar\u0131n ba\u015f \u00fcst\u00fcnde tutaca\u011f\u0131 kitaplardan biridir.\u201d<\/p>\n
B\u00fct\u00fcn yerel m\u00fczikleri de i\u00e7erecek bi\u00e7imde m\u00fczikler bestelenebilir. Faz\u0131l Say\u2019\u0131n \u00a0\u0130stanbul Senfonisi<\/em> bu yap\u0131ya iyi bir \u00f6rnektir. Koca bir orkestran\u0131n i\u00e7inde Osmanl\u0131 Saray m\u00fczi\u011finin \u00e7alg\u0131lar\u0131 son derece \u201ciyi\u201d yerle\u015ftirilmi\u015f ve yama gibi kalmam\u0131\u015ft\u0131r. Caz\u0131n da bu t\u00fcr bir kapsay\u0131c\u0131l\u0131\u011f\u0131 vard\u0131r. 1950\u2019li y\u0131llar\u0131n ba\u015f\u0131nda Dave Bruebeck\u2019in \u0130zmir\u2019de k\u0131sa s\u00fcreli bulunu\u015fu s\u0131ras\u0131nda duydu\u011fu 9\/8\u2019lik aksak ritimle hemen bir k\u00fc\u00e7\u00fck beste yapt\u0131\u011f\u0131n\u0131 ve Blue Rondo a la Turk<\/em> ad\u0131n\u0131 verdi\u011fini de an\u0131msatmak isterim. Olduk\u00e7a \u00e7ok \u00f6rnek akla gelmekle birlikte bir de \u00dczeyir Hac\u0131beyov\u2019un Fuzuli\u2019nin \u00fcnl\u00fc \u015fiirinden besteleyip 1908 y\u0131l\u0131nda Bak\u00fc\u2019de sahneledi\u011fi Leyla ve Mecnun <\/em>operas\u0131n\u0131n b\u00fct\u00fcn aryalar\u0131n\u0131n tar e\u015fli\u011finde ve bildi\u011fimiz t\u00fcrk\u00fc sesiyle okunmakta oldu\u011funu ve inan\u0131lmaz g\u00fczellikte bir yap\u0131t oldu\u011funu \u00f6rneklemek isterim.<\/p>\n
![\"\"](\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/06\/m7-300x221.jpg\")
Faz\u0131l Say\u2019\u0131n \u0130stanbul Senfonisi, Klasik Bat\u0131 M\u00fczi\u011finin yerel m\u00fczikle birle\u015fmesine ba\u015far\u0131l\u0131 bir \u00f6rnek olu\u015fturur.<\/figcaption><\/figure>\n Klasik m\u00fczi\u011fe neden \u201cse\u00e7kinci\u201d diyemeyiz?<\/em><\/strong><\/p>\n
\u201cSe\u00e7kinler\u201d diye sosyolojik bir kavram yoktur. Aristokratlar\u0131n egemen oldu\u011fu d\u00f6nemde se\u00e7kinler arsitokratlard\u0131r; burjuvalar\u0131n egemen oldu\u011fu d\u00f6nemde de burjuvalar… Bu durumda, tarih i\u00e7inde hangi s\u0131n\u0131ftan gelmi\u015f olan m\u00fczi\u011fe \u201cse\u00e7kinlerin m\u00fczi\u011fi\u201d diyebilece\u011fiz? H\u00e2l\u00e2 K\u0131z\u0131lba\u015f nefeslerinin en yayg\u0131nl\u0131kla kullan\u0131lanlar\u0131, Hatay\u00ee, yani \u015eah \u0130smail\u2019indir. \u015eah \u0130smail, kendi d\u00f6neminde a\u00e7\u0131k-se\u00e7ik bir \u201cse\u00e7kin\u201ddir. Beethoven\u2019\u0131n s\u00f6z gelimi 3. Senfonisi olan Eroika<\/em>, d\u00f6neminin \u201cse\u00e7kin\u201dlerine kar\u015f\u0131 yap\u0131lm\u0131\u015f olan Frans\u0131z Devrimi\u2019nde aristokratlara kar\u015f\u0131 burjuvalar\u0131n egemen olmas\u0131n\u0131 kutlamak i\u00e7in bestelenmi\u015f ve d\u00f6nemin burjuva \u00f6nderi oldu\u011funu sand\u0131\u011f\u0131 Napoleon Bonaparte\u2019a adanm\u0131\u015ft\u0131. Ama Napoleon\u2019un bir \u201csonradan g\u00f6rme\/burjuva\u201d olarak kendini imparator ilan edece\u011fi politikalar geli\u015ftirmekte oldu\u011funu anlay\u0131nca bu adamay\u0131 geri \u00e7ekti. Ayr\u0131ca Beethoven\u2019\u0131n, tek operas\u0131 olan Fidelio<\/em>\u2019nun da b\u00fct\u00fcn\u00fcyle g\u00fcn\u00fcn\u00fcn \u201cse\u00e7kin\u201dleri olan aristokratlara kar\u015f\u0131 verilmekte olan sava\u015f\u0131m\u0131n fonu \u00fczerine kurulmu\u015f oldu\u011funu yinelemeliyim. \u015eimdi bunlara nas\u0131l kolayca \u201cse\u00e7kinlerin m\u00fczi\u011fi\u201d ad\u0131n\u0131 verebilece\u011fiz? Koca Sovyet besteci Shostakovich\u2019in neredeyse b\u00fct\u00fcn\u00fcyle devrimi anlatan m\u00fcziklerini hi\u00e7 saym\u0131yorum. \u00d6zellikle 5 ve 11 numaral\u0131 senfonileri bunun en iyi \u00f6rneklerindendir.<\/p>\n
\u201cKlasik Bat\u0131 M\u00fczi\u011fi\u201d diye geleneksel ad takt\u0131\u011f\u0131m\u0131z m\u00fczik, b\u00fct\u00fcn yerel m\u00fczikleri de kapsayan, Barok d\u00f6nem ya\u015fam\u0131\u015fl\u0131\u011f\u0131n geli\u015fkinli\u011fini de ta\u015f\u0131yan ve her kanaldan gelen m\u00fczik\u00e7inin kullanabilece\u011fi \u00f6zellikler kat\u0131lan, daha \u00f6nemlisi \u00fczerine daha da ara\u015ft\u0131rma ve katk\u0131 yap\u0131labilecek olan akademik m\u00fcziktir. Yaln\u0131zca \u201conu mu sevsem, bunu mu sevsem\u201de verilecek bir yan\u0131tla ortaya \u00e7\u0131kan bir se\u00e7me de\u011fildir. S\u00f6z konusu olan, \u201ce\u015fit\u201d anlay\u0131\u015flar aras\u0131ndaki farklar de\u011fil, i\u015flenmi\u015fliktir. Hekimlikte, geleneksel k\u0131r\u0131k-\u00e7\u0131k\u0131k\u00e7\u0131larla (ki \u00e7ok iyi an\u0131msar\u0131m, onlar da \u00e7ok ba\u015far\u0131l\u0131yd\u0131) ortopedist hekimler aras\u0131nda nas\u0131l bir ay\u0131r\u0131m varsa onun gibi…<\/p>\n
<\/p>\n
Sonu\u00e7<\/em><\/strong><\/p>\n
- \n
- a) M\u00fczik, b\u00fct\u00fcn sanatlar gibi bir ara\u00e7t\u0131r. \u0130nsan\u0131n kendisini, ya\u015fant\u0131lar\u0131n\u0131 payla\u015fmaya \u00e7al\u0131\u015fabilece\u011fi bir ara\u00e7. D\u00f6neminin se\u00e7kinleri ya da halk\u0131, kendilerini her t\u00fcrl\u00fc m\u00fczikle anlatmaya \u00e7al\u0131\u015fabilirler. Tek ba\u015f\u0131na \u201cm\u00fczik\u201d kavram\u0131na \u201csosyalist\u201d denemez. Kim kullan\u0131rsa onundur. \u015eiire sosyalisttir denilebilir mi? Ahmet Ha\u015fim ya da Naz\u0131m Hikmet\u2019in \u015fiirleri aras\u0131nda, \u015fiirsellik bak\u0131m\u0131ndan nas\u0131l bir ayr\u0131mdan s\u00f6z edilebilir ki.<\/li>\n
- b) M\u00fczik de, nereden kaynaklan\u0131rsa kaynaklans\u0131n, \u201cgeli\u015fkinli\u011fi\u201d \u00fczerinden de\u011ferlendirilmelidir. Hangi m\u00fczi\u011fi kulland\u0131\u011f\u0131m\u0131z \u00f6nemli de\u011fildir. K\u00f6keni ne olursa olsun, b\u00fct\u00fcn sanatlarda oldu\u011fu gibi, sosyal s\u0131n\u0131flar\u0131n k\u00fclt\u00fcrlerine g\u00f6re bi\u00e7imlenir.<\/li>\n
- c) \u0130nsan\u0131n insanla\u015fmas\u0131na, her t\u00fcrl\u00fc m\u00fczi\u011fi (k\u00fclt\u00fcr\u00fc) payla\u015f\u0131yor ya da izliyor olmas\u0131 katk\u0131da bulunur. Yeter ki burjuva yozla\u015fmas\u0131n\u0131n i\u00e7ine d\u00fc\u015fmesin\u2026 \u201cM\u00fczikmi\u015f gibi g\u00f6r\u00fcnen\u201d ve insanlar\u0131n geli\u015fmesine engel olan yap\u0131lar kar\u015f\u0131m\u0131za \u00e7\u0131kmas\u0131n… G\u00fcn\u00fcm\u00fczde bunlar\u0131 ay\u0131rman\u0131n en \u00f6nemli yolu, burjuva ekonomik yap\u0131s\u0131n\u0131n \u00e7arklar\u0131 aras\u0131nda, meta olarak \u00fcretilmi\u015f olmalar\u0131 ile belirlenir. Ticari yozla\u015fmaya izin vermeyen bir yap\u0131n\u0131n temel al\u0131nmas\u0131n\u0131n yolu, bunu do\u011fru ay\u0131rt etmekten ge\u00e7er. Yozla\u015fm\u0131\u015f bir m\u00fczikten yararlanarak halka ula\u015fmaya \u00e7al\u0131\u015fmak, halk\u0131 (yani y\u00f6netilenleri) ger\u00e7ekten terk edilmi\u015flikleri i\u00e7inde b\u0131rakmaktan ba\u015fka bir anlama gelmeyecektir.<\/li>\n<\/ol>\n
En belirgin \u00f6rne\u011fi de bir t\u00fcr arabesk olan G\u0131rg\u0131r <\/em>dergisi ve ard\u0131llar\u0131n\u0131n ortaya \u00e7\u0131kard\u0131\u011f\u0131 ve ad\u0131na karikat\u00fcr (ya da g\u00fclmece) dedi\u011fi, i\u00e7eriklerinin do\u011frulu\u011fundan ba\u011f\u0131ms\u0131z olarak, bug\u00fcn iyice yayg\u0131nla\u015fm\u0131\u015f olan kaba ve yoz \u00e7izimlerdir.<\/p>\n
\u201cA\u015fa\u011f\u0131lamak\u201d gibi bir niyetim yok. Tam tersine ciddiye al\u0131yor ve kar\u015f\u0131s\u0131na ge\u00e7ip sava\u015f\u0131m vermek gerekti\u011fini, ilerlemenin, gelece\u011fin sanat\u201cm\u0131\u015f gibi\u201d g\u00f6r\u00fcnen engellerini ortadan kald\u0131rmak gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n
Kendi zaman\u0131m\u0131z\u0131n \u201cse\u00e7kinler(!)\u201dini yaratma sava\u015f\u0131m\u0131 vermenin zaman\u0131 gelmedi mi: Se\u00e7kin olmayan kimsenin kalmad\u0131\u011f\u0131 bir zaman!?.<\/p>\n
<\/p>\n
KAYNAKLAR<\/strong><\/p>\n
1) Alain Corneau<\/a>\u2019nun D\u00fcnyan\u0131n B\u00fct\u00fcn Sabahlar\u0131<\/em> adl\u0131 filmi (http:\/\/www.imdb.com\/title\/tt0103110\/<\/a>), k\u00fclt\u00fcrler aras\u0131 ge\u00e7i\u015f s\u0131ras\u0131nda, m\u00fczikle soluyan, m\u00fczikle ya\u015fayabilen bir bestecinin ya\u015fam\u0131ndaki isyan\u0131 ve i\u00e7 \u00e7at\u0131\u015fmalar\u0131 inan\u0131lmaz bir ba\u015far\u0131 ve g\u00fczellikle anlatmaktad\u0131r.<\/p>\n
2) Bu \u201ceda\u201dy\u0131 en iyi anlatan yap\u0131t, aristokrat k\u00f6kenli bir Marksist olan Luchino Visconti<\/a>‘nin Leopar\/Il gattopardo<\/em> filmidir (http:\/\/www.imdb.com\/title\/tt0057091\/<\/a>). Garibaldi\u2019nin \u00f6nderli\u011findeki \u0130talyan burjuva devrimi (19. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131) s\u0131ras\u0131nda h\u00e2l\u00e2 ya\u015famakta olan ger\u00e7ek aristokratlarla, kendini aristokrat g\u00f6stermeye \u00e7al\u0131\u015fan burjuva karakterinin alt\u0131n\u0131 ba\u015far\u0131yla \u00e7izer, k\u00fclt\u00fcrel altyap\u0131lar\u0131n\u0131 ve ya\u015fama bi\u00e7imlerini anlat\u0131r.<\/p>\n
3) Aldous Huxley\u2019in Nice Yazlardan Sonra<\/em> adl\u0131 kitab\u0131, Amerikal\u0131 \u00e7ok b\u00fcy\u00fck bir sermaye sahibinin kendisine soyluluk aray\u0131\u015f\u0131n\u0131n roman\u0131d\u0131r.<\/p>\n
4) 10 Eyl\u00fcl 2003 tarihli H\u00fcrriyet<\/em> gazetesinin haberine g\u00f6re, Avrupa\u2019n\u0131n en b\u00fcy\u00fck ve prestijli m\u00fczik \u00f6d\u00fcl\u00fc olan ECHO\u2019yu kazand\u0131. Se\u00e7ici Kurul yapt\u0131\u011f\u0131 a\u00e7\u0131klamas\u0131nda \u00f6d\u00fcl\u00fcn \u201c\u2018Do\u011fu ve Bat\u0131 aras\u0131nda olu\u015fturdu\u011fu sanatsal k\u00f6pr\u00fcdeki ba\u015far\u0131s\u0131\u2019 gerek\u00e7esiyle Say\u2019a verildi\u011fini belirtti. B\u00fcy\u00fck \u00f6d\u00fcle lay\u0131k g\u00f6r\u00fclen CD\u2019de \u2018\u0130stanbul Senfonisi\u2019ni, Borusan\u00a0\u0130stanbul<\/a>\u00a0Filarmoni Orkestras\u0131 ve \u015fef G\u00fcrer Aykal e\u015fli\u011finde Burcu Karada\u011f (ney), Hakan G\u00fcng\u00f6r (kanun) ve Aykut K\u00f6selerli (vurmasazlar) icra etmi\u015fti.\u201d Dinlemek i\u00e7in bkz. http:\/\/vimeo.com\/18362962<\/p>\n","protected":false},"excerpt":{"rendered":"
Arabesk, pek \u00e7ok sanat dal\u0131n\u0131 kullanan \u00f6teki \u201carz\/sunum\u201d alanlar\u0131nda oldu\u011fu gibi, bu yap\u0131n\u0131n yozla\u015fm\u0131\u015f sonucudur. T\u00fcrk\u00fcn\u00fcn insanca \u201cyan\u0131k\u201dl\u0131\u011f\u0131n\u0131 \u201cezik\u201dli\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Eziklik, yan\u0131kl\u0131\u011f\u0131n ba\u015fkald\u0131r\u0131s\u0131n\u0131 ta\u015f\u0131maz. Caz m\u00fczi\u011findeki, biraz da karikat\u00fcrle karde\u015f, i\u00e7indeki ba\u015fkald\u0131r\u0131y\u0131 da ta\u015f\u0131maz. \u201cEziklik\u201d, i\u00e7inde, bu ezikli\u011fin kabullenilmi\u015fli\u011fini bar\u0131nd\u0131r\u0131r. \u201cBe\u011feni \u201c yerlerde s\u00fcr\u00fcnmekte, izleyici\/dinleyicinin \u201cl\u00fcmpen\u201dden daha \u00fcst be\u011feni d\u00fczeylerine ta\u015f\u0131nmas\u0131n\u0131n \u00f6n\u00fc kesilmektedir. […]<\/p>\n","protected":false},"author":474,"featured_media":11489,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[153,38,562],"tags":[811,343,695],"class_list":["post-11473","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-116-sayi","category-dergi-sayilari","category-sanat","tag-burjuvalasma","tag-muzik","tag-sanat"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/11473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/users\/474"}],"replies":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=11473"}],"version-history":[{"count":0,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/11473\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media\/11489"}],"wp:attachment":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=11473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=11473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=11473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}