{"id":9851,"date":"2011-03-01T18:32:34","date_gmt":"2011-03-01T16:32:34","guid":{"rendered":"http:\/\/109.232.216.219\/~bilimvegelecek\/?p=9851"},"modified":"2017-05-21T18:48:36","modified_gmt":"2017-05-21T15:48:36","slug":"muzik-sanatindan-yola-cikarak-kulturel-yozlasmanin-sosyolojik-alt-yapisi-uzerine","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2011\/03\/01\/muzik-sanatindan-yola-cikarak-kulturel-yozlasmanin-sosyolojik-alt-yapisi-uzerine","title":{"rendered":"M\u00fczik sanat\u0131ndan yola \u00e7\u0131karak K\u00fclt\u00fcrel yozla\u015fman\u0131n sosyolojik alt yap\u0131s\u0131 \u00fczerine"},"content":{"rendered":"

Kapitalist yap\u0131 ancak\u00a0\u201dk\u00e2r ederek ge\u00e7im sa\u011flama\u201d ve dolay\u0131s\u0131yla \u201cdaha \u00e7ok t\u00fcketme\u201d \u00f6l\u00e7\u00fctleriyle devinebiliyor. \u0130nsan\u0131n do\u011fal gereksemesi olan sanat, \u201csunum-istem \/ arz-talep\u201d \u00e7arklar\u0131 aras\u0131na s\u0131k\u0131\u015fm\u0131\u015f. Bu yap\u0131n\u0131n olu\u015fmas\u0131nda, t\u00fcketiciyi kolayca \u00fcretilebilir olana y\u00f6nlendirmek, gereksemeden \u00e7ok daha fazlas\u0131n\u0131 t\u00fcketmesini sa\u011flamak gibi mekanizmalar etkili. Bunun ilk \u00f6rne\u011fi Hitler\u2019in propaganda bakan\u0131 G\u00f6bbels\u2019in olu\u015fturdu\u011fu \u201cB\u00fcy\u00fck Yalan Kuram\u0131\u201dd\u0131r. Ad\u0131 \u00f6nce \u201creklamc\u0131l\u0131k\u201d olmu\u015f, \u015fimdilerde\u00a0\u201chalkla ili\u015fkiler\u201d ad\u0131 verilmi\u015ftir! <\/em><\/p>\n

Sanat\u0131n do\u011fal bir gerekseme sonucunda ortaya \u00e7\u0131km\u0131\u015f oldu\u011funu ve g\u00fcn\u00fcm\u00fcze de\u011fin biyolojik (burada beyin) geli\u015fmeye ko\u015fut olarak da \u00e7a\u011flar i\u00e7inde geli\u015fti\u011fini s\u00f6yleyebiliriz.<\/p>\n

Ancak k\u00fclt\u00fcrel de\u011fi\u015fiklikler ister istemez sanat\u0131n bi\u00e7imini de etkilemi\u015ftir. Bize de\u011fin ula\u015fanlara bakarsak, kimi zaman \u015faman doktorun hastas\u0131n\u0131 iyile\u015ftirmek i\u00e7in do\u011fal g\u00fc\u00e7lere etti\u011fi duadaki i\u00e7tenlikte, kimi zaman Afrika kabilesinde kurban\u0131n (insan ya da hayvan) kurban edeni ba\u011f\u0131\u015flamas\u0131nda, s\u00f6yleme g\u00fcc\u00fcn\u00fcn yeterli olmad\u0131\u011f\u0131 ortamlarda, kimi zaman ma\u011fara duvar\u0131na, ama belki de yine ava gitmeden \u00f6nce, do\u011fal g\u00fc\u00e7lere haber g\u00f6ndermek amac\u0131yla, dans, m\u00fczik, ya da resim sanatlar\u0131 geli\u015fmi\u015ftir. Bug\u00fcn g\u00f6rd\u00fc\u011f\u00fcm\u00fcze g\u00f6re yap\u0131lan danslar, \u00e7\u0131kar\u0131lan sesler ya da \u00e7izilen ya da boyanan \u015fekiller, hepsi insan beyninin \u00fcr\u00fcn\u00fc olan soyutlama ad\u0131n\u0131 verdi\u011fimiz etkinliktir. Belki insan\u0131n bir tan\u0131m\u0131n\u0131 da \u201csoyutlama yapabilen hayvand\u0131r\u201d diye vermek yanl\u0131\u015f olmaz…<\/p>\n

\u0130nsan beyni bir\u00e7ok soyutlama yapar. Bunlar\u0131n hepsi de \u201csanat\u201d olmak zorunda de\u011fildir. S\u00f6z gelimi \u201cdil\u201d de soyutlamad\u0131r. Bilimlerin kulland\u0131\u011f\u0131 kimi kavramlar da soyutlamalard\u0131r. \u00d6zellikle de matematik ve geometri, b\u00fct\u00fcn i\u015flemlerini soyutlamalar \u00fczerinden yapar.<\/p>\n

Ama \u201csanat\u201d b\u00fct\u00fcn bunlardan ayr\u0131 olarak \u201cya\u015fam\u201d\u0131n payla\u015f\u0131lmas\u0131 i\u00e7in yap\u0131lan soyutlamad\u0131r. Ortaya \u00e7\u0131k\u0131\u015f bi\u00e7iminde \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 olmu\u015ftur. Bunlardan biri duyunun, \u00f6teki duyarl\u0131\u011f\u0131n dilidir. Duyusal dilin amac\u0131 bilgi aktarmak, duyarl\u0131\u011f\u0131n amac\u0131 ise ya\u015fam\u0131 payla\u015fmak, ba\u015fka g\u00fc\u00e7lere (insan, do\u011fa, tanr\u0131) payla\u015fmak istediklerini aktarmakt\u0131r. Ancak ne yapsa buna tam olarak g\u00fcc\u00fc yetmemektedir. \u00c7\u00fcnk\u00fc duyarl\u0131k i\u00e7seldir ve bunu d\u0131\u015fsalla\u015ft\u0131rmak i\u00e7in mutlaka d\u0131\u015f evrenin elemanlar\u0131na gerek vard\u0131r (Prof. Dr. Necdet Sumer, \u201cSanatsal Etkinli\u011fin Do\u011fas\u0131 \u00dczerine\u201d, Bilim ve \u00dctopya<\/em>, Eyl\u00fcl 2003, Say\u0131:111) Sanatlar\u0131n i\u015flenebilen yan\u0131 d\u0131\u015fsal yan\u0131d\u0131r. Asl\u0131na bak\u0131l\u0131rsa sanatlar\u0131 birbirinden ay\u0131ran da yaln\u0131zca bu yand\u0131r.<\/p>\n

Yani hangi sanat ve hangi d\u00f6nem olursa olsun, sanat\u0131n \u00f6z\u00fc ayn\u0131d\u0131r ve \u201cinsan\u201dd\u0131r. Hi\u00e7 ku\u015fkusuz, k\u00fclt\u00fcr\u00fcnden etkilendi\u011fi bi\u00e7imiyle insan, siyasal yap\u0131s\u0131yla, be\u011fenileriyle, nefretleriyle, isyanlar\u0131yla, ho\u015flanmalar\u0131yla, ac\u0131lar\u0131yla \u201cinsan ya\u015fant\u0131lar\u0131\u201d…<\/p>\n

Do\u011fald\u0131r ki d\u0131\u015fsal olan da 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, bir ba\u015fka bi\u00e7imde var olacakt\u0131r.<\/p>\n

D\u00fcnyan\u0131n hi\u00e7bir yerinde, bu arada Osmanl\u0131 saray\u0131nda 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, saray m\u00fczi\u011fimiz de bizimdir, halk \u015fiirimiz, halk m\u00fczi\u011fimiz de… 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

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Sanat\u0131n k\u00f6keninde \u015faman\u0131n do\u011fa \u00fcst\u00fc g\u00fc\u00e7lere yakar\u0131\u015f\u0131 da var.<\/figcaption><\/figure>\n

\u201cBizim olmayan sanat var m\u0131d\u0131r?\u201d sorusunun yan\u0131t\u0131 bu durumda zor de\u011fildir: Bizim olmayan sanat, ayn\u0131 zamanda sanat olmayand\u0131r. \u201cBiz\u201dim sanat\u0131m\u0131za benzer d\u0131\u015fsal \u00f6gelerle ve yaln\u0131zca \u201cd\u0131\u015fsal \u00f6gelerle\u201d olu\u015fturulan \u201cmeta\u201dlar bize sanat gibi g\u00f6sterilmek istenmektedir. \u201cArabesk\u201di de\u011ferlendirmemizde de \u00f6l\u00e7\u00fct\u00fcm\u00fcz bu olmal\u0131d\u0131r. Burada \u201cegemenler\u201d tam olarak devrededir. Bug\u00fcn\u00fcn egemeni olan burjuva k\u00fclt\u00fcr\u00fc, kendi ekonomik yap\u0131s\u0131na uygun olarak, \u201cinsan olan\u201d\u0131n k\u00fclt\u00fcr\u00fcn\u00fc geli\u015ftirmemesi i\u00e7in \u00f6n\u00fcn\u00fc kesmeye \u00e7al\u0131\u015fmakta, sanat\u0131n i\u00e7eri\u011fini yok ederek yaln\u0131zca \u201cbi\u00e7im\u201dden, yani kendi istedi\u011fi d\u0131\u015fsal \u00f6gelerden olu\u015fan yapay bir sanat g\u00f6r\u00fcnt\u00fcs\u00fc olu\u015fturmaya \u00e7al\u0131\u015fmaktad\u0131r.<\/p>\n

K\u00fclt\u00fcrlere bakarak yap\u0131lan Bat\u0131-Do\u011fu ay\u0131r\u0131mlar\u0131 olsun, ulusal s\u0131n\u0131rlar olsun, ulusal k\u00fclt\u00fcr ay\u0131r\u0131mlar\u0131 olsun, biraz geri \u00e7ekilip bak\u0131nca \u201cyapay\u201d ay\u0131r\u0131mlard\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 anlam\u0131na gelir. Egemenlerin ekme\u011fine ya\u011f s\u00fcren ve kurtulmam\u0131z gereken \u201ctuzak\u201d budur. 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, blues\u2019u ya da onlardan geli\u015fmi\u015f olan klasik caz\u0131 nas\u0131l birbirinin devam\u0131 olarak g\u00f6rebiliyorsak, Barok d\u00f6nemi ya\u015fam\u0131\u015f olan evrensel m\u00fczi\u011fi de emperyalistlerin m\u00fczi\u011fi diye d\u0131\u015fta tutamay\u0131z. Onun i\u00e7inde 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 gelece\u011fe do\u011fru g\u00f6t\u00fcrecektir.<\/p>\n

Yani d\u0131\u015fsal, bi\u00e7imsel yan\u0131 \u00fczerinde yapay olarak y\u00fcr\u00fct\u00fclen bu 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\u0131s\u0131n\u0131n hangi d\u0131\u015fsal \u00f6gelerle 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 Afrikal\u0131; 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

\u0130\u015fte \u201csol\u201d bu d\u00fcnyay\u0131 yaratman\u0131n, gelece\u011fi kurman\u0131n kavgas\u0131d\u0131r. Bu tutum d\u0131\u015f\u0131nda kalan her t\u00fcrl\u00fc ge\u00e7mi\u015fe ba\u011fl\u0131 d\u00fc\u015f\u00fcnsel yap\u0131, \u201csa\u011f\u201dda kal\u0131r. \u0130stesek de istemesek de… \u015eu \u201cegemen\u201dden geliyor, \u015fu \u201chalk\u201dtan gibi ay\u0131r\u0131mlarla \u00f6zellikle sanata bakamay\u0131z. Buradaki ana ay\u0131r\u0131m \u00fcretti\u011fimiz sanat\u0131n, o egemenin sosyal d\u00fcnyas\u0131nda nas\u0131l bir yerde oturdu\u011fudur. Bunun en u\u00e7 \u00f6rne\u011fi, Hitler\u2019in belgeselcisi Leni Riefenstahl\u2019\u0131n yapt\u0131\u011f\u0131 belgesellerdir. Onu, Hitler\u2019in propaganda belgeselcisi diye hi\u00e7bir belgeselci yok saymaz, sayamaz. Vard\u0131r ve tarihte bir yerdedir. Bug\u00fcn\u00fcn belgeselinin olu\u015fmas\u0131nda onun da \u00f6nemli bir pay\u0131 vard\u0131r.<\/p>\n

Tam bu noktada sevgili Can Y\u00fccel\u2019in kendi sesinden kaydedilmi\u015f, Ezra Pound \u00fczerine bir konu\u015fmas\u0131n\u0131 ekleyeyim:<\/p>\n

\u201cPound; Ezra (1885-1972). 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 hastahanesinde yatarak \u00e7ekmi\u015ftir, bir kafes i\u00e7inde. Cantos adl\u0131 uzun \u015fiiri, san\u0131r\u0131m azg\u0131n Amerikal\u0131lar\u0131n ya da Fa\u015fistlerin 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

Kolayl\u0131kla caz\u0131 da, b\u00fct\u00fcn \u00f6teki yerel m\u00fczikleri de i\u00e7erecek m\u00fczikler bestelenebilir. Faz\u0131l Say\u2019\u0131n \u201c\u0130stanbul Senfonisi\u201dni bu yap\u0131ya kolayl\u0131kla \u00f6rnek g\u00f6sterebiliriz (http:\/\/vimeo.com\/18362962<\/a>). 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 de kalmam\u0131\u015ft\u0131r. Kald\u0131 ki, caz\u0131n da bu t\u00fcr bir kapsay\u0131c\u0131l\u0131\u011f\u0131 vard\u0131r. B\u00fct\u00fcn bunlar yap\u0131lmadan \u00f6nce, 1950\u2019li y\u0131llar\u0131n ba\u015f\u0131nda Dave Bruebeck\u2019in \u0130zmir\u2019de k\u0131sa s\u00fcreli bir bulunu\u015fu s\u0131ras\u0131nda duydu\u011fu 9\/8\u2019lik aksak ritmle hemen bir k\u00fc\u00e7\u00fck beste yapt\u0131\u011f\u0131n\u0131 ve \u201cBlue Rondo a la Turk\u201d ad\u0131n\u0131 verdi\u011fini de an\u0131msamak gerekir. Olduk\u00e7a \u00e7ok \u00f6rnek bulunmakla birlikte bir de \u00dczeyir Hac\u0131beyov\u2019un Fuzuli\u2019nin \u00fcnl\u00fc \u015fiirinden besteleyip 1908 y\u0131l\u0131nda Bak\u00fc\u2019de sahneledi\u011fi \u201cLeyla ve Mecnun\u201d adl\u0131 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 beste oldu\u011funu \u00f6rnekleyebiliriz.<\/p>\n

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Beethoven\u2019\u0131n 3. Senfonisi, \u201cEroika\u201d, Frans\u0131z Devrimi\u2019ni kutlamak i\u00e7in yaz\u0131lm\u0131\u015f ve d\u00f6nemin burjuva \u00f6nderi oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc Napoleon Bonaparte\u2019a adanm\u0131\u015ft\u0131. Napoleon kendini imparator ilan edince Beethoven pi\u015fman oldu.<\/figcaption><\/figure>\n

Akademik m\u00fczi\u011fe tak\u0131lan \u201cse\u00e7kinlerin m\u00fczi\u011fi\u201d nitelemesini anlamak i\u00e7in \u201cse\u00e7kin\u201d kavram\u0131 \u00fczerinde durmak gerekiyor. B\u00f6yle bir sosyolojik kavram yoktur. Aristokratlar\u0131n egemen oldu\u011fu d\u00f6nemde se\u00e7kinler onlard\u0131r, burjuvalar\u0131n egemen oldu\u011fu d\u00f6nemde de onlar… Bu durumda, \u201cak\u0131\u015f\u201d i\u00e7inde hangi s\u0131n\u0131ftan gelmi\u015f olan m\u00fczi\u011fe \u201cse\u00e7kinlerin m\u00fczi\u011fi\u201d diyebilece\u011fiz? K\u0131z\u0131lba\u015f nefeslerinin en yayg\u0131nl\u0131kla kullan\u0131lanlar\u0131 h\u00e2l\u00e2, Hatay\u00ee, yani \u015eah \u0130smail\u2019indir. Ve kendi d\u00f6neminde a\u00e7\u0131k-se\u00e7ik bir \u201cse\u00e7kin\u201ddir. Beethoven\u2019\u0131n, s\u00f6z gelimi 3. Senfonisi, \u201cEroika\u201d, 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 yaz\u0131lm\u0131\u015f ve d\u00f6nemin burjuva \u00f6nderi oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc Napoleon Bonaparte\u2019a adanm\u0131\u015ft\u0131. Ama Napoleon\u2019un bir \u201csonradan g\u00f6rme\/burjuva\u201d olarak kendini imparator ilan edece\u011fi anla\u015f\u0131l\u0131nca adamas\u0131n\u0131 geri \u00e7ekmi\u015fti. Tek operas\u0131 olan \u201cFidelio\u201dnun da b\u00fct\u00fcn\u00fcyle g\u00fcn\u00fcn\u00fcn \u201cse\u00e7kin\u201dleri olan aristokratlara kar\u015f\u0131 verilmekte olan sava\u015f\u0131m\u0131 anlatt\u0131\u011f\u0131n\u0131 s\u00f6ylemek gerekir. \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 senfonilerinin mutlaka dinlenmesi gerekir.<\/p>\n

\u201cKlasik Bat\u0131 M\u00fczi\u011fi\u201d diye geleneksel bir ad takt\u0131\u011f\u0131m\u0131z m\u00fczik, b\u00fct\u00fcn yerel m\u00fczikleri de i\u00e7eren, Barok d\u00f6nemi ya\u015fam\u0131\u015fl\u0131\u011f\u0131n\u0131n geli\u015fkinli\u011fini de ta\u015f\u0131yan ve her kanaldan gelen m\u00fczik\u00e7inin kulland\u0131\u011f\u0131 \u00f6zelliklerin kat\u0131labildi\u011fi, daha \u00f6nemlisi \u00fczerine daha da ara\u015ft\u0131rma ve katk\u0131 yap\u0131labilecek nitelikte geli\u015ftirilmi\u015f 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\u011fildir, i\u015flenmi\u015fliktir. Hekimlikte geleneksel k\u0131r\u0131k-\u00e7\u0131k\u0131k\u00e7\u0131larla (ki onlar da \u00e7ok ba\u015far\u0131l\u0131yd\u0131) ortopedist hekimler aras\u0131nda nas\u0131l bir ay\u0131r\u0131m varsa onun gibi…<\/p>\n

M\u00fczik, b\u00fct\u00fcn sanatlar gibi bir ara\u00e7t\u0131r. \u0130nsan\u0131n kendisini payla\u015fmak i\u00e7in kulland\u0131\u011f\u0131 bir ara\u00e7. D\u00f6neminin se\u00e7kinleri ya da halk\u0131, kendilerini her t\u00fcrl\u00fc m\u00fczikle payla\u015fmaya \u00e7al\u0131\u015fabilirler. Tek ba\u015f\u0131na \u201cm\u00fczik\u201de \u201csosyalist\u201d ya da sosyalist kar\u015f\u0131t\u0131 denemez. Kim kullan\u0131rsa onundur. \u015eiire sosyalisttir denilemedi\u011fi gibi. Ahmet Ha\u015fim ya da Naz\u0131m Hikmet aras\u0131na \u015fiir de\u011feri bak\u0131m\u0131ndan nas\u0131l ay\u0131r\u0131m koyabilece\u011fiz?<\/p>\n

M\u00fczik de, hangi k\u00f6kenden kaynaklan\u0131rsa kaynaklans\u0131n, \u201cgeli\u015fkinli\u011fi\u201d \u00fczerinden de\u011ferlendirilmelidir. Hangi m\u00fczi\u011fi kulland\u0131\u011f\u0131m\u0131z \u00f6nemli de\u011fildir. M\u00fczik de, k\u00f6keni ne olursa olsun, b\u00fct\u00fcn sanatlarda oldu\u011fu gibi, sosyal s\u0131n\u0131flar\u0131n k\u00fclt\u00fcrlerine g\u00f6re bi\u00e7imlenir.<\/p>\n

M\u00fczikle ilgilenen sosyalistlerin Akademik M\u00fczik dinliyor olmakla aristokratla\u015fmas\u0131 olanakl\u0131 de\u011fildir. Dahas\u0131, belki de insan\u0131n insanla\u015fmas\u0131na, her t\u00fcrl\u00fc m\u00fczi\u011fi yap\u0131yor ya da dinliyor olmas\u0131 katk\u0131da bulunabilir. Yeter ki burjuva yozla\u015fmas\u0131n\u0131n i\u00e7inde olmas\u0131n, m\u00fczik-\u201cmi\u015f gibi\u201d g\u00f6r\u00fcnen 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, \u201cmeta\u201d 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\u00e7mektedir. 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\u0131rakm\u0131\u015f olmaktan ba\u015fka bir anlama gelmeyecektir. Bunun 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 adlar\u0131na karikat\u00fcr dedi\u011fi \u00e7izimlerdir.<\/p>\n

\u201cA\u015fa\u011f\u0131lamak\u201d gibi bir niyetim yok. Tam tersine \u00e7ok ciddiye almak ve kar\u015f\u0131s\u0131na ge\u00e7ip sava\u015f\u0131m vermek gerekir. \u0130lerlemenin, gelece\u011fin sanat-\u201cm\u0131\u015f gibi\u201d g\u00f6r\u00fcnen engellerini ortadan kald\u0131rmak gerekir. Gelece\u011fe do\u011fru ilerlemenin yolu budur.<\/p>\n

Kendi zaman\u0131m\u0131z\u0131n \u201cse\u00e7kinler(!)\u201dini yaratma sava\u015f\u0131m\u0131 vermenin zaman\u0131 gelmedi mi: \u201cse\u00e7kin\u201d olmayan kimsenin kalmad\u0131\u011f\u0131 bir zaman?<\/p>\n

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\u201cUcube\u201d<\/em><\/strong>nin as\u0131l adreslerinden biri: \u201cArabesk\u201d!..<\/em><\/strong><\/p>\n

Bat\u0131 ya da do\u011fu diye iki ayr\u0131 k\u00fclt\u00fcr olmad\u0131\u011f\u0131 gibi, iki ayr\u0131 m\u00fczik t\u00fcr\u00fc de yoktur. De\u011fi\u015fim ve geli\u015fim \u00e7izgisinin ayr\u0131 noktalar\u0131na ula\u015fm\u0131\u015f k\u00fclt\u00fcrlerin m\u00fczikleri vard\u0131r.<\/p>\n

D\u00fcnyan\u0131n her yerinde m\u00fczik ayn\u0131 gereksemeden do\u011far, ayn\u0131 kanaldan gelir, toplumlar\u0131n ya\u015fam bi\u00e7imlerine g\u00f6re bi\u00e7imlenir. Toplumlar\u0131 ve ya\u015fam bi\u00e7imlerini birbirinden ay\u0131ran \u00f6l\u00e7\u00fct d\u00f6nemin k\u00fclt\u00fcr\u00fcyle belirlenir. Bu k\u00fclt\u00fcrel \u00f6l\u00e7\u00fct,\u00a0sosyolojinin verilerine g\u00f6re, aristokrat \u00fcmmet toplumlar\u0131nda \u201cdin\u201d ve \u201ckul\u201d, g\u00fcn\u00fcm\u00fcz burjuva toplumlar\u0131nda \u201cmillet\/ulus\u201d ve \u201cbirey\u201ddir. Yan yana ya\u015fayan toplumlar birbirinin k\u00fclt\u00fcr\u00fcn\u00fc\u00a0etkiler, yeni sentezler olu\u015fturur.<\/p>\n

Avrupa\u2019da geli\u015fen m\u00fczik, Renaissance sonras\u0131 16-18. y\u00fczy\u0131llar aras\u0131nda \u201cBarok\u201d d\u00f6nemden ge\u00e7erek Orta\u00e7a\u011f dinsel aristokrat yap\u0131s\u0131n\u0131 geride b\u0131rakm\u0131\u015ft\u0131r. Bu d\u00f6nemde m\u00fczik bireyin d\u00fcnyas\u0131na girmi\u015f, aristokrat k\u00fclt\u00fcrden burjuva k\u00fclt\u00fcr\u00fcne ge\u00e7mi\u015ftir. M\u00fczik ara\u015ft\u0131rmalar\u0131 bulunan Prof. Dr. Necdet Sumer\u2019e g\u00f6re Avrupa\u2019da geli\u015fen m\u00fczi\u011fin niteliksel ayr\u0131l\u0131\u011f\u0131n\u0131n k\u00f6keninde \u201cBarok d\u00f6nemi ya\u015fam\u0131\u015f olmas\u0131\u201d, vard\u0131r. Sevgili Sumer\u2019in d\u00fc\u015f\u00fcncesine ek olarak \u201cRenaissance sonras\u0131 burjuva k\u00fclt\u00fcr\u00fcne ko\u015fut olarak m\u00fczik de nitelik de\u011fi\u015ftirmi\u015f ve d\u00f6neminin gereksemesini kar\u015f\u0131lamak \u00fczere \u2018birey\u2019 d\u00fcnyas\u0131na d\u00f6nm\u00fc\u015f olmas\u0131ndand\u0131r\u201d denilebilir. Ge\u00e7i\u015f d\u00f6neminin sosyolojik, k\u00fclt\u00fcrel ve bireysel \u00f6zellikleri b\u00fct\u00fcn incelikleriyle Alain Corneau\u2019nun 1991 yap\u0131m\u0131 \u201cTous les Matins du Monde \/ D\u00fcnyan\u0131n B\u00fct\u00fcn Sabahlar\u0131\u201d adl\u0131 filminde 17. y\u00fczy\u0131l bestecisi Sainte Colombe\u2019un ya\u015fam\u0131 \u00f6zelinde b\u00fcy\u00fck bir ustal\u0131kla anlat\u0131l\u0131r http:\/\/www.imdb.com\/title\/tt0103110\/<\/a>. Ayn\u0131 d\u00f6nemi b\u00fct\u00fcn\u00fcyle sosyolojik a\u00e7\u0131dan ele alan b\u00fcy\u00fck y\u00f6netmen Luchino Visconti\u2019nin 1963 yap\u0131m\u0131 \u201cIl gattopardo\/Leopar\u201d\u0131n\u0131 da unutmamak gerekir http:\/\/www.imdb.com\/title\/tt0057091\/<\/a> .<\/p>\n

Anadolu\u2019da aristokrat \u201ckul k\u00fclt\u00fcr\u00fc\u201dn\u00fcn sonlanmas\u0131 ve burjuva \u201cbirey k\u00fclt\u00fcr\u00fc\u201dne ge\u00e7i\u015f s\u00fcrecinde m\u00fczik, kar\u015f\u0131m\u0131za iki bi\u00e7imde \u00e7\u0131kar. Biri, h\u0131z\u0131n\u0131 aristokrat k\u00fclt\u00fcrden alan, onun \u00fczerine oturan burjuva m\u00fczi\u011fi, \u00f6teki burjuva ticari yap\u0131s\u0131n\u0131n etkisiyle ortaya \u00e7\u0131kan \u201csat\u0131labilir\u201d ya da \u201csat\u0131\u015fa gelebilir\u201d bir \u201cmeta\u201d olarak m\u00fczik. Yozla\u015fma yo\u011funlukla, ikinci yolun \u00fczerinde, \u201cyeterli k\u00fclt\u00fcrel alt yap\u0131ya sahip olmayan ve yaln\u0131zca sat\u0131lmak i\u00e7in yap\u0131lan m\u00fczik\u201d alan\u0131nda g\u00f6r\u00fcl\u00fcr.<\/p>\n

Kemalist d\u00f6nemin k\u00fclt\u00fcr \u00fczerine, dolay\u0131s\u0131yla m\u00fczik \u00fczerine etkisini, bug\u00fcnden bakarak ve bug\u00fcn\u00fcn de\u011fer yarg\u0131lar\u0131yla \u00f6l\u00e7erek, \u201cT\u00fcrk m\u00fczi\u011fi yasaklanm\u0131\u015ft\u0131r\u201d diye y\u00fczeysel de\u011ferlendirmeler yapmak do\u011fru olmaz. Osmanl\u0131 aristokrasisinden gelen b\u00fcrokrasi k\u00fclt\u00fcr\u00fc \u00fcst\u00fcne oturmu\u015f ve i\u015flerlik gelene\u011fini zorunlu olarak Osmanl\u0131 \u201ckul k\u00fclt\u00fcr\u00fc\u201dnden alm\u0131\u015f olan Kemalist b\u00fcrokrasinin \u00e7alkant\u0131l\u0131 ge\u00e7i\u015f d\u00f6neminde yanl\u0131\u015flar yap\u0131lm\u0131\u015f olmas\u0131 do\u011fald\u0131r. Her devrimden sonra, devrimi yerli yerine oturmak i\u00e7in bir s\u00fcre gerekmi\u015ftir. 20. y\u00fczy\u0131l Anadolu Devrimi, d\u00fcnyadaki son burjuva devrimidir. Bu d\u00f6nemde insanl\u0131\u011f\u0131n burjuva devrimlerinin deneyimine sahip olmas\u0131, Kemalist Burjuva Devrimi\u2019nin k\u0131sa ge\u00e7i\u015f s\u00fcreci ya\u015famas\u0131na olanak vermi\u015ftir. Neler ya\u015fand\u0131\u011f\u0131n\u0131 elbette tarih\u00e7iler a\u00e7\u0131k\u00e7a ara\u015ft\u0131rmal\u0131d\u0131r. Ama bu, Kemalist Burjuva Devrimi\u2019nin ak\u0131\u015f i\u00e7indeki do\u011fru yeri g\u00f6zetilmeden, mahk\u00fbm edilmesi gerekti\u011fi \u00f6n yarg\u0131s\u0131yla yap\u0131lmamal\u0131d\u0131r.<\/p>\n

Osmanl\u0131\u2019n\u0131n kurulu\u015funda, \u00f6z\u00fcn\u00fc olu\u015fturan, ama sonradan aristokrat kar\u015f\u0131 devrimle \u00f6n\u00fc kesilen, olu\u015fum a\u015famas\u0131ndaki burjuva k\u00fclt\u00fcr\u00fc (http:\/\/omer-tuncer.blogspot.com\/2007\/11\/anadoluda-yeniden-dou.html<\/a>), sosyolojik bak\u0131mdan, ama dar bir bak\u0131\u015fla\u00a0\u201dbat\u0131c\u0131\u201d yan\u0131lsamas\u0131yla adland\u0131r\u0131lan hareketlerin ilkinden, L\u00e2le Devri\u2019nden sonra geli\u015fir. Klasik T\u00fcrk M\u00fczi\u011finin i\u00e7inde olu\u015fan \u201c\u015fark\u0131 formu\u201d ile ortaya \u00e7\u0131kmakta ve d\u00f6nemden etkilenen ya\u015fama bi\u00e7imine ko\u015fut yeni bir t\u00fcr, \u201ce\u011flence m\u00fczi\u011fi\u201d olu\u015fmaktad\u0131r. 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, burjuva \u201cbireysel\u201d\u00a0ya\u015fam bi\u00e7iminin daha da egemen olmas\u0131na ko\u015fut, bu t\u00fcr, kendini yava\u015f yava\u015f \u201cKlasik T\u00fcrk M\u00fczi\u011fi\u201d ad\u0131n\u0131 verebilece\u011fimiz aristokrat k\u00fclt\u00fcrden gelen m\u00fczikten ay\u0131racak, yeni ya\u015fam bi\u00e7imine ko\u015fut olarak bir yandan \u201cLonga\u201dlar, \u201cSirto\u201dlar gibi e\u011flence m\u00fczikleri ile de birle\u015fecektir (\u201cFas\u0131l\u201d denilen ve disipline edilmemi\u015f \u015fark\u0131 formu yorumlar\u0131n\u0131n da bu d\u00f6nemde yayg\u0131nla\u015fm\u0131\u015f oldu\u011funa dikkat \u00e7ekmek gerekir). Rum ve T\u00fcrk e\u011flence m\u00fcziklerinin ve dillerinin karma\u015fas\u0131ndan olu\u015fan Rembetiko (ya da Rebetiko) bu d\u00f6nemde ortaya \u00e7\u0131kar. Ayn\u0131 d\u00f6nem, \u0130slam ilahilerinin aras\u0131nda bir t\u00fcr serbest okuma say\u0131labilecek Gazellerin, ustas\u0131 olan haf\u0131zlar taraf\u0131ndan, \u201cb\u00fclb\u00fcl sesli\u201d gibi e\u011flenceyi \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r nitelemelerle bir t\u00fcr e\u011flence m\u00fczi\u011fine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc d\u00f6nemdir.<\/p>\n

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  1. 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 (s\u00f6z-beste ortakl\u0131klar\u0131 bu durumun \u00f6zel bir kan\u0131t\u0131 gibidir), daha sonra bunlara, klasik ile pop\u00fcler aras\u0131ndaki s\u0131n\u0131fsal k\u00fclt\u00fcr ay\u0131r\u0131m\u0131 g\u00f6z ard\u0131 edilerek, \u201cneo-klasik\u201d ad\u0131 verilebilecektir.<\/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. 1960\u2019dan sonra 45\u2019lik plaklar\u0131n \u00e7\u0131kmas\u0131, taksilere tak\u0131lan 45\u2019lik plak\u00e7alarlar\u0131n \u201cavazeleri\u201d ile gazinodan gelen Zeki M\u00fcren\u2019in yan\u0131na Halk M\u00fczi\u011finin gazino kanad\u0131ndan gelen Muzaffer Akg\u00fcn\u2019\u00fcn kat\u0131lmas\u0131yla, rant ve yozla\u015fma, doruklar\u0131na ula\u015f\u0131r.<\/p>\n

    \"\"
    Caz\u0131 da, b\u00fct\u00fcn \u00f6teki yerel m\u00fczikleri de i\u00e7erecek m\u00fczikler bestelenebilir. Faz\u0131l Say\u2019\u0131n \u201c\u0130stanbul Senfonisi\u201dni \u00f6rnek g\u00f6sterebiliriz. 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 de kalmam\u0131\u015ft\u0131r.<\/figcaption><\/figure>\n

    Arabesk denilen ve son g\u00fcnlerin moda deyimiyle \u201cucube(!)\u201d m\u00fczik bu d\u00f6nemde i\u00e7 yozla\u015fman\u0131n doruklara t\u0131rmanmas\u0131 ile ortaya \u00e7\u0131kacakt\u0131r. Art\u0131k bu ucube<\/strong>de, halk m\u00fczi\u011finin \u201cyan\u0131k<\/strong>\u201dl\u0131\u011f\u0131 (Anadolu t\u00fcrk\u00fcs\u00fc bestelenmez, \u201cyak\u0131l\u0131r<\/strong>\u201d), \u201cezik\u201dli\u011fe d\u00f6n\u00fc\u015fecek Arap m\u00fczi\u011fine y\u00f6nelen tecimsel (ticar\u00ee) \u201ctalep\/istem\u201de uyularak Arap t\u0131n\u0131lar\u0131na yakla\u015f\u0131lacak ve Arabesk ad\u0131n\u0131 alacakt\u0131r.<\/p>\n

    \u00d6te yandan, g\u00fcn\u00fcm\u00fczde, burjuva kapitalist yap\u0131n\u0131n ancak\u00a0\u201dk\u00e2r ederek ge\u00e7im sa\u011flama\u201d ve dolay\u0131s\u0131yla \u201cdaha \u00e7ok t\u00fcketme\u201d \u00f6l\u00e7\u00fctleriyle devinebiliyor oldu\u011funu g\u00f6z \u00f6n\u00fcnde tutarak, insan\u0131n do\u011fal gereksemesi olan sanat\u0131n, \u201csunum-istem \/ arz-talep\u201d \u00e7arklar\u0131 aras\u0131na s\u0131k\u0131\u015fm\u0131\u015f oldu\u011funu kolayl\u0131kla g\u00f6rebiliriz. Ku\u015fkusuz bu yap\u0131n\u0131n olu\u015fmas\u0131nda, \u201cistem\/talep\u201din \u00f6nemli bir pay\u0131 vard\u0131r (\u201chalk b\u00f6yle istiyor\u201d kolayc\u0131l\u0131\u011f\u0131). Ancak\u00a0bunun \u00f6zg\u00fcr bir istem oldu\u011fu s\u00f6ylenemez. Olu\u015fmas\u0131nda, t\u00fcketiciyi kolayca \u00fcretilebilir olana y\u00f6nlendirmek, gereksemedan \u00e7ok daha fazlas\u0131n\u0131 t\u00fcketmesini sa\u011flamak ve t\u00fcketimi olabildi\u011fince uzun s\u00fcre diri tutmak \u00fczere \u00e7e\u015fitli burjuva\/kapitalist mekanizmalar\u0131n geli\u015ftirilmekte ve i\u015fletilmekte oldu\u011fu g\u00f6zden ka\u00e7\u0131r\u0131lmamal\u0131d\u0131r. Bu mekanizmalar\u0131n ilk organize kayna\u011f\u0131n\u0131n, Hitler\u2019in propaganda bakan\u0131 G\u00f6bbels\u2019in olu\u015fturdu\u011fu \u201cB\u00fcy\u00fck Yalan Kuram\u0131\u201d oldu\u011fu unutulmamal\u0131d\u0131r (ad\u0131 \u00f6nce \u201creklamc\u0131l\u0131k\u201d olmu\u015f, \u015fimdilerde\u00a0\u201chalkla ili\u015fkiler\u201d ad\u0131 verilmi\u015ftir). Bu ad\u0131n olu\u015fmas\u0131nda bile\u00a0\u201cb\u00fcy\u00fck yalan kuram\u0131\u201dn\u0131n \u00f6nemli pay\u0131 oldu\u011fu a\u00e7\u0131kt\u0131r. Yani kapitalist yap\u0131 bu i\u015f i\u00e7in para d\u00f6kmekte, ba\u015far\u0131l\u0131 da olmaktad\u0131r. Y\u00f6neldi\u011fi kitle ise \u00f6rg\u00fctlenmemesi ve durumun ay\u0131rd\u0131na varamamas\u0131 i\u00e7in \u00f6zel \u00f6nlemler al\u0131nan \u201ct\u00fcketici\u201ddir, \u201cbiz\u201diz!.. \u00dcstelik d\u00f6k\u00fclen para, maliyetlere yans\u0131yan, bizim param\u0131z, yani eme\u011fimizdir!..<\/p>\n

    Dolay\u0131s\u0131yla yaln\u0131zca bu \u00fcr\u00fcnlere bakarak, toplumun \u201cdo\u011fal k\u00fclt\u00fcrel yap\u0131s\u0131\u201dn\u0131 a\u00e7\u0131klamaya \u00e7al\u0131\u015fmak bizi yanl\u0131\u015f yollara y\u00f6nlendirecektir.<\/p>\n

    \"\"Gazino k\u00fclt\u00fcr\u00fc de, Arabesk de, Karag\u00f6z\u2019\u00fcn, orta oyununun, kuklan\u0131n, gezici tiyatro truplar\u0131n\u0131n, do\u011fal s\u00fcre\u00e7 i\u00e7inde ger\u00e7ek gereksemeden olu\u015fmu\u015f \u201cger\u00e7ek e\u011flence k\u00fclt\u00fcr\u00fc\u201dnden gelmez. Ve do\u011fald\u0131r ki, k\u00f6keninde, A\u015f\u0131k Veysel\u2019in ger\u00e7ek gereksemelere oturmu\u015f olan nefesleri de bulunmaz. Bunlar\u0131n kendi akt\u0131klar\u0131 yol \u00fczerinde geli\u015febilecekleri ve geli\u015fkin bir k\u00fclt\u00fcr\u00fcn olu\u015fabilece\u011fi tehlikesi, \u00f6n\u00fcn\u00fcn kesilmesi gere\u011fini do\u011furmu\u015f, burjuva kapitalist yap\u0131, kendi devindiricisi\u00a0olan \u201ck\u00e2r\u201d mekanizmas\u0131 do\u011frultusunda \u201chalkla ili\u015fkiler\u201d kuram\u0131n\u0131 da alabildi\u011fine kullanarak \u00f6n\u00fcn\u00fc kesme (ya da hi\u00e7 de\u011filse denetim alt\u0131na alma) operasyonu gere\u011fince, uygulamalar\u0131n\u0131 yap\u0131tlar\u0131n i\u00e7ine yerle\u015ftirmeye ba\u015flam\u0131\u015ft\u0131r. Hal Ashby\u2019nin \u201cBeing There \/ Merhaba D\u00fcnya\u201ds\u0131 gibi diren\u00e7li birka\u00e7 olumlu \u00f6rnek d\u0131\u015f\u0131nda bug\u00fcn\u00fcn komedisinin, art\u0131k Shakespeare\u2019in komedyalar\u0131yla\u00a0da Charlie Chaplin\u2019in komedisiyle\u00a0de,\u00a0hi\u00e7bir niteliksel ilgisi yoktur. Bug\u00fcn\u00fcn komedisi\u00a0\u00e7ok b\u00fcy\u00fck oranda, ger\u00e7ek gereksemenin de\u011fil, burjuva kapitalist dizgenin kendi olu\u015fturdu\u011fu \u201cyapay istem\/talep\u201din \u00fcr\u00fcn\u00fcd\u00fcr. Belirli ya\u015f \u00fcst\u00fcndekilerin h\u00e2l\u00e2 an\u0131msayabildi\u011fi D\u00fcmb\u00fcll\u00fc \u0130smail komedisi ile bug\u00fcnk\u00fc Cem Y\u0131lmaz stand-up\u2019\u0131 aras\u0131ndaki nitelik fark\u0131 a\u00e7\u0131kl\u0131kla ortadad\u0131r…<\/p>\n

    Arabesk, pek \u00e7ok\u00a0k\u00fclt\u00fcr\u00a0dal\u0131n\u0131 kullanan\u00a0ticari \u201csunum\/arz\u201d alanlar\u0131nda oldu\u011fu gibi, bu yap\u0131n\u0131n sonucu, ger\u00e7ek k\u00fclt\u00fcr\u00fc yozla\u015ft\u0131rmas\u0131 sonucu ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Ne \u201cyan\u0131k\u201dl\u0131\u011f\u0131n insanca ba\u015fkald\u0131r\u0131s\u0131n\u0131 ne de cazdaki, biraz da karikat\u00fcrle karde\u015f, ba\u015fkald\u0131r\u0131y\u0131 ta\u015f\u0131r. Arabeskin \u00f6z\u00fcndeki \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\u00a0\u201dsat\u0131labilir\u201d ve \u201ck\u00e2r getirebilir\u201d\u00a0k\u0131l\u0131nan G\u0131rg\u0131r<\/em> ve salk\u0131m sa\u00e7ak ard\u0131llar\u0131 ile ayn\u0131 pop\u00fcler \u00e7izgide, ayn\u0131 dura\u011fanl\u0131kta, ayn\u0131 yozla\u015fma s\u00fcrecinin ula\u015ft\u0131\u011f\u0131 noktadad\u0131r. Konular\u0131ndaki toplumsal ba\u015fkald\u0131r\u0131 \u00f6geleri, sat\u0131\u015f\u0131 art\u0131rma mekanizmas\u0131n\u0131n yaratt\u0131\u011f\u0131ndan \u00f6te bir de\u011fer ta\u015f\u0131maz.<\/p>\n

    \"\"
    Arabesk, pek \u00e7ok k\u00fclt\u00fcr dal\u0131n\u0131 kullanan ticari \u201csunum\/arz\u201d alanlar\u0131nda oldu\u011fu gibi, bu yap\u0131n\u0131n sonucu, ger\u00e7ek k\u00fclt\u00fcr\u00fc yozla\u015ft\u0131rmas\u0131 sonucu ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Foto\u011frafta Turgut \u00d6zal ve \u0130brahim Tatl\u0131ses.<\/figcaption><\/figure>\n

    Gelece\u011fin d\u00fcnyas\u0131n\u0131 olu\u015fturmak i\u00e7in bu yap\u0131n\u0131n mutlaka ve h\u0131zla ay\u0131rd\u0131na var\u0131lmas\u0131 gerekir. Kapitalizmin g\u00fcd\u00fcml\u00fc \u201csunum-istem\u201d yap\u0131s\u0131n\u0131n ard\u0131ndaki \u201cg\u00fcd\u00fcm\u201d\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lmak ve herkesin \u00f6n\u00fcnde ipli\u011fini pazara \u00e7\u0131karman\u0131n zaman\u0131 h\u0131zla ge\u00e7mektedir. Yok edilmeye \u00e7al\u0131\u015f\u0131lan ve ger\u00e7ek gereksemelerle olu\u015fmu\u015f, sanat, bilim, felsefe gibi\u00a0her t\u00fcrl\u00fc yarat\u0131 kanal\u0131n\u0131n a\u00e7\u0131k tutulmas\u0131 i\u00e7in verilmesi gereken sava\u015f\u0131m, g\u00fcn\u00fcm\u00fcz ayd\u0131n\u0131n\u0131n g\u00f6revidir.<\/p>\n

     <\/p>\n

    Tarihsel ak\u0131\u015f i\u00e7inde \u201csanat\u201da bakarsak<\/em><\/strong><\/p>\n

    Sanat, ad\u0131 ne zaman konulmu\u015f olursa olsun, bize de\u011fin ula\u015ft\u0131\u011f\u0131 kadar\u0131yla, ma\u011fara \u00e7a\u011f\u0131nda, ma\u011fara resimlerindeki stilizasyonlarla ba\u015flam\u0131\u015ft\u0131r.<\/p>\n

    Aristokrat s\u0131n\u0131f\u0131n b\u00fct\u00fcn\u00fcyle egemen olmas\u0131ndan hemen \u00f6nce, Renaissance sonras\u0131 \u201cbirey\u201dsel sanat\u0131n \u00f6nc\u00fcleri denebilecek yap\u0131tlar ortaya konulmu\u015ftur. En \u00f6nemli \u00f6rnekleri \u015fiirde Homeros, Sappho vb; d\u00fczyaz\u0131da Herodotos, felsefede Sokrates \u00f6ncesi Anadolulu d\u00fc\u015f\u00fcn\u00fcrler (\u201cfelsefe\u201d ad\u0131 daha sonra Helenler taraf\u0131ndan konulacakt\u0131r); \u00f6teki sanatlarda resimde Girit ve Pompei duvar resimlerinde g\u00f6r\u00fclmektedir. Yontuda ise Helen okulu, Aphrodisias okulu gibi kimi ak\u0131mlar bile geli\u015fmi\u015ftir.<\/p>\n

    Aristokrasinin oturmas\u0131 ile \u201cbirey\u201d olan, olabilenin yaln\u0131zca \u201ctanr\u0131\u201d oldu\u011fu, geri kalan herkesin kendini \u201ckul\u201d olarak benimsedi\u011fi bir k\u00fclt\u00fcrel yap\u0131da, yarat\u0131lar\u0131n b\u00fct\u00fcn\u00fc tanr\u0131 taraf\u0131ndan vahyedilmi\u015f oland\u0131. \u015eiir yaln\u0131zca kutsal kitaplard\u0131 (\u00fcnl\u00fc \u00f6rne\u011fi: Kur\u2019an<\/em>\u2019\u0131n \u015fairleri lanetlemesidir), o da tanr\u0131 taraf\u0131ndan yaz\u0131l\u0131r ve vahyedilirdi. Anadolu\u2019da 13. y\u00fczy\u0131la, Yunus Emre\u2019ye de\u011fin sanat ya da felsefe, yarat\u0131lar\u0131n hi\u00e7biri imzalanmazd\u0131. Tanr\u0131n\u0131n yap\u0131t\u0131na imza koymak \u201cg\u00fcnah\u201dt\u0131. Renaissance\u2019da yeniden do\u011fan \u201cbirey\u201ddir<\/p>\n

    Aristokrat k\u00fclt\u00fcr d\u00f6neminde \u201cdeha\u201dlar elbette hayatlar\u0131n\u0131 soylular\u0131n dizi dibinde ge\u00e7ireceklerdi. Ba\u015fka t\u00fcrl\u00fc ya\u015fama \u015fans\u0131 yoktu. Toplumun k\u00fclt\u00fcr\u00fc onlar\u0131 \u201ckul\u201d olmaya zorluyordu. Hi\u00e7 de\u011filse teknik olarak!.. Bug\u00fcn de sanat\u00e7\u0131lar\u0131n yap\u0131tlar\u0131n\u0131 satarak ge\u00e7inmek zorunda olmalar\u0131n\u0131n nedeni ayn\u0131d\u0131r. G\u00fcn\u00fcm\u00fczde \u201cbirey\u201di, burjuva-kapitalist sosyal yap\u0131n\u0131n, yap\u0131tlar\u0131n\u0131n geliriyle ya\u015famaya zorlamas\u0131 do\u011fald\u0131r. Sanat\u00e7\u0131n\u0131n buna kar\u015f\u0131 kendi sava\u015f\u0131m\u0131n\u0131 vermesi gerekir.<\/p>\n

    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 \u201cFidelio\u201dnun \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, Sultan\u2019\u0131n g\u00f6zdesi Hurrem\u2019e \u201cRus Cad\u0131s\u0131\u201d diyecek denli ki\u015fiseldir, ama ba\u015fkald\u0131r\u0131d\u0131r…<\/p>\n

    \u201cZulmedip 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>\u201d<\/p>\n

    Anadolu geleneksel Halk m\u00fczi\u011finde, Osmanl\u0131\u2019n\u0131n kurulu\u015funu ger\u00e7ekle\u015ftirmi\u015f olan 13. y\u00fczy\u0131l k\u00fclt\u00fcr\u00fcn\u00fcn aristokrat kar\u015f\u0131 devrime direni\u015fi s\u00f6z konusudur. 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. Bunu Pir Sultan\u2019\u0131 a\u015fa\u011f\u0131lamak i\u00e7in s\u00f6ylemiyorum. Hem bir ba\u015fka t\u00fcrl\u00fc davranmay\u0131 bilecekleri yeni bir k\u00fclt\u00fcr hen\u00fcz geli\u015fmemi\u015ftir, hem de \u201c\u015fah\u201dda bulmay\u0131 umduklar\u0131 \u015fey 13. y\u00fczy\u0131l Anadolu k\u00fclt\u00fcr\u00fcd\u00fcr ki do\u011fmakta olan \u201cbirey\u201d k\u00fclt\u00fcr\u00fcnden \u00e7ok g\u00fc\u00e7l\u00fc \u00f6geler i\u00e7ermektedir (bkz: yukar\u0131da s\u00f6z\u00fc ge\u00e7en yaz\u0131).<\/p>\n

    \u00d6zetlersek: de\u011ferlendirmelerimizi yaparken, \u201cinsanl\u0131k\u201d olarak \u201cak\u0131\u015f\u201d\u0131 temel almay\u0131 hen\u00fcz \u00f6\u011frenmedi\u011fimiz g\u00f6r\u00fclmektedir. Bu da do\u011fald\u0131r. Ya\u015fad\u0131\u011f\u0131m\u0131z d\u00f6nemde Marksist kurama kar\u015f\u0131n, \u201cak\u0131\u015f\u201d\u0131 temel alan gelece\u011fin k\u00fclt\u00fcr\u00fcn\u00fc hen\u00fcz olu\u015fturamad\u0131\u011f\u0131m\u0131z\u0131 g\u00f6rmek zor de\u011fildir. En \u00f6nemli g\u00f6revin \u201cak\u0131\u015f\u201d\u0131 temel alan, \u201cak\u0131\u015f\u201d\u0131n \u00fcst\u00fcne kurulacak olan k\u00fclt\u00fcr\u00fc olu\u015fturmak oldu\u011funu d\u00fc\u015f\u00fcnmek gerekir.<\/p>\n

     <\/p>\n

    \u201cEmperyalizm ve m\u00fczik\u201d sorunu<\/em><\/strong><\/p>\n

    Ya\u015fad\u0131\u011f\u0131m\u0131z d\u00f6nemde, \u201cemperyalizm\u201din art\u0131k uluslar aras\u0131nda de\u011fil s\u0131n\u0131flar aras\u0131nda oldu\u011funu ba\u015ftan 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

    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\u201diz.<\/p>\n

    Emperyalizmi h\u00e2l\u00e2 \u201culuslar aras\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, \u00e7\u00fcnk\u00fc \u201ct\u00fcketiciler\u201di olabildi\u011fince uzun s\u00fcre s\u00f6m\u00fcrmeye devam etmek isteyen emperyalist yap\u0131da s\u00f6m\u00fcr\u00fcc\u00fc olan, \u201chalkla ili\u015fkiler\u201d bilimi(!)nin kulland\u0131\u011f\u0131 \u201cB\u00fcy\u00fck Yalan\u201d kuram\u0131n\u0131n sanmam\u0131z\u0131 istedi\u011fi gibi \u201c\u00fclkeler\u201d ya da \u201culuslar\u201d de\u011fil, sermayenin ta kendisidir. Biraz daha ileri gidersek bunun sermaye sahibi insanlar bile de\u011fil, sermaye d\u00fczeninin mekanik yap\u0131s\u0131ndan geldi\u011fini, ya\u015famak i\u00e7in buna zorunlu gereksemesi oldu\u011funu g\u00f6rmemiz olas\u0131d\u0131r (bu konu daha ayr\u0131nt\u0131l\u0131 ara\u015ft\u0131r\u0131lmaya gerek duyuyor; \u015fimdilik konumuz de\u011fil).<\/p>\n

     <\/p>\n

    Sonu\u00e7 olarak\u2026<\/em><\/strong><\/p>\n

    \"\"
    Arabeskte, A\u015f\u0131k Veysel\u2019in ger\u00e7ek gereksemelere oturmu\u015f nefesleri de bulunmaz.<\/figcaption><\/figure>\n

    Klasik Bat\u0131 M\u00fczi\u011fi ad\u0131n\u0131 verdi\u011fimiz 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 olsa da, Barok d\u00f6nemin getirdi\u011fi yap\u0131sal de\u011fi\u015fiklikle bug\u00fcn art\u0131k 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

    Bunu, d\u00fcnyan\u0131n her yan\u0131ndaki 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 (\u00f6rn: Sarasate\u2019nin \u201cZigeunerweisen\u201d ya da \u201cGipsy Airs\u201di) de kapsayan ve onlar\u0131n \u00fczerinde yer alan geli\u015fkin, evrensel bir sanat t\u00fcr\u00fcd\u00fcr. Buna \u201cKlasik\u201d demek yerine Evrensel ya da Akademik m\u00fczik demek daha do\u011frudur. Art\u0131k Ruhi Su\u2019nun b\u00fct\u00fcn t\u00fcrk\u00fclerinde, Faz\u0131l Say\u2019\u0131n \u201cKara Toprak\u201d\u0131nda Anadolu halk m\u00fczi\u011fini, Faz\u0131l Say\u2019\u0131n \u0130stanbul Senfonisinde saray m\u00fczi\u011fini de halk m\u00fczi\u011fini de bulabiliyoruz.\"\"<\/p>\n

    \u0130nsan\u0131 \u201cinsan\u201d yapacak olan, s\u0131n\u0131flar aras\u0131ndaki s\u00f6m\u00fcr\u00fc d\u00fczeni olarak emperyalizmin t\u0131kamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 yol budur. Kendini evrenselle\u015ftirerek (global sermaye), durmadan b\u00fcy\u00fcmek zorunda olmas\u0131 nedeniyle s\u0131n\u0131rlar\u0131 kendisi i\u00e7in ortadan kald\u0131rmaya \u00e7al\u0131\u015fan sermaye, \u201cinsan\u201dlar\u0131n evrenselle\u015fmesini (klasik anlamda Marksist enternasyonalizm) olabildi\u011fince durdurmaya \u00e7al\u0131\u015fmaktad\u0131r. 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, bunun i\u00e7in \u00f6zel politikalar geli\u015ftirerek yapma \u00e7abas\u0131ndad\u0131r. Bunun i\u00e7in en yayg\u0131n uygulanan politika ise uluslar\u0131n birbirine d\u00fc\u015f\u00fcr\u00fclmesidir. B\u00f6ylece, \u00f6te yandan silah t\u00fcketimini de olabildi\u011fince uzun s\u00fcre ayakta tutarak 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

    S\u00f6z konusu yozla\u015fma, d\u00fcnya burjuva k\u00fclt\u00fcr\u00fcn\u00fcn yaratt\u0131\u011f\u0131 ticari m\u00fczi\u011fin yozla\u015fma s\u00fcreci (pop\u00fcler m\u00fczik) ile de \u00f6nemli ko\u015futluklar i\u00e7ermektedir ve bu a\u00e7\u0131dan da ele al\u0131nmal\u0131 ve incelenmelidir.<\/p>\n

    Burjuva devrimleriyle aristokrasiyi ala\u015fa\u011f\u0131 ederek 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. Olabildi\u011fince uzun ya\u015famak i\u00e7in de elinden geleni yapmaktad\u0131r.<\/p>\n

    K\u00fclt\u00fcrel ya da siyasal, her alanda geli\u015ftirece\u011fimiz politikalar\u0131n, yozla\u015ft\u0131rmaya kar\u015f\u0131 sava\u015f\u0131m politikalar\u0131 olmas\u0131 gerekiyor.<\/p>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    Kapitalist yap\u0131 ancak\u00a0\u201dk\u00e2r ederek ge\u00e7im sa\u011flama\u201d ve dolay\u0131s\u0131yla \u201cdaha \u00e7ok t\u00fcketme\u201d \u00f6l\u00e7\u00fctleriyle devinebiliyor. \u0130nsan\u0131n do\u011fal gereksemesi olan sanat, \u201csunum-istem \/ arz-talep\u201d \u00e7arklar\u0131 aras\u0131na s\u0131k\u0131\u015fm\u0131\u015f. Bu yap\u0131n\u0131n olu\u015fmas\u0131nda, t\u00fcketiciyi kolayca \u00fcretilebilir olana y\u00f6nlendirmek, gereksemeden \u00e7ok daha fazlas\u0131n\u0131 t\u00fcketmesini sa\u011flamak gibi mekanizmalar etkili. Bunun ilk \u00f6rne\u011fi Hitler\u2019in propaganda bakan\u0131 G\u00f6bbels\u2019in olu\u015fturdu\u011fu \u201cB\u00fcy\u00fck Yalan Kuram\u0131\u201dd\u0131r. Ad\u0131 \u00f6nce \u201creklamc\u0131l\u0131k\u201d […]<\/p>\n","protected":false},"author":474,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[122,562,218],"tags":[460,343,380],"class_list":["post-9851","post","type-post","status-publish","format-standard","hentry","category-85-sayi","category-sanat","category-sosyoloji","tag-kultur","tag-muzik","tag-sosyoloji"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t