Concepts that were propounded by the Russian contemplator Mikhael Bakhtin based on his literature reviews, such as dialogue, dialogy and carnivalesque are also used in studies on popular culture. ...According to Bakhthin, at the carnival, a public culture which is positioned as an opposition to the official culture, carries the laughter, the collective life rhythms of the nature and the resistance and functions of the body to language and literature. Carnival square is a public conscience which reveals itself as a ridicule to every kind of official position and seriousness, overturning all hierarchies, celebration of all kinds of violations of conduct codes by profanity, insults and vulgarity, and all extremes of physical appetite. Bakhtin explains that all “semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world. “Semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world and some of them are direct literary variations of direct verbal carnivalesque-folk genres. The rhetorical elements are found in all half serious - half humorous genres and has a heterophonic nature; a multi pitched narration and intertwined genres and styles are frequently seen. Musician Karahan Kadırman, in his performances entitled “Muzika-Retorika”, uses a style which he establishes a dialogue with the audience. Kadırman defines Müzika-Retorika as a genre in which individuals discuss “similarities and differences, the society that freezes these similarities and differences, politics which legalize and sometimes shatter these similarities and differences, the psychology and the ethics that fluctuate within these similarities and differences” and the musician performs with multi instruments on the “field” sounds that were recorded during these discussions. According to Kadırman, “to form a multi-genred association as a protest against popular and customary within the urban music culture, by means of ortaoyunu (a eulogy show in ottoman culture and entertainment life), cabarets, musicals, performance arts, minstrel traditions and other art disciplines, encouraging to speak on what cannot be spoken and criticizing the authoritarian structure is important”. The aim of this study is to analyze Musical Rhetoric within the contexts of Carnival and dialogue.
Concepts that were propounded by the Russian contemplator Mikhael Bakhtin based on his literature reviews, such as dialogue, dialogy and carnivalesque are also used in studies on popular culture. ...According to Bakhthin, at the carnival, a public culture which is positioned as an opposition to the official culture, carries the laughter, the collective life rhythms of the nature and the resistance and functions of the body to language and literature. Carnival square is a public conscience which reveals itself as a ridicule to every kind of official position and seriousness, overturning all hierarchies, celebration of all kinds of violations of conduct codes by profanity, insults and vulgarity, and all extremes of physical appetite. Bakhtin explains that all “semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world. “Semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world and some of them are direct literary variations of direct verbal carnivalesque-folk genres. The rhetorical elements are found in all half serious - half humorous genres and has a heterophonic nature; a multi pitched narration and intertwined genres and styles are frequently seen. Musician Karahan Kadırman, in his performances entitled “Muzika-Retorika”, uses a style which he establishes a dialogue with the audience. Kadırman defines Müzika-Retorika as a genre in which individuals discuss “similarities and differences, the society that freezes these similarities and differences, politics which legalize and sometimes shatter these similarities and differences, the psychology and the ethics that fluctuate within these similarities and differences” and the musician performs with multi instruments on the “field” sounds that were recorded during these discussions. According to Kadırman, “to form a multi-genred association as a protest against popular and customary within the urban music culture, by means of ortaoyunu (a eulogy show in ottoman culture and entertainment life), cabarets, musicals, performance arts, minstrel traditions and other art disciplines, encouraging to speak on what cannot be spoken and criticizing the authoritarian structure is important”. The aim of this study is to analyze Musical Rhetoric within the contexts of Carnival and dialogue.
Grupların ya da müzisyenlerin, kendi kayıtlarını kendilerinin yaptığı, müzik üretimi ve dağıtımına ilişkin organizasyonları kendi başlarına hallettikleri, birbirleriyle yardımlaşarak ortak çalışmalar ...yaptıkları (ya da içlerinden bir kişinin çalışmasını destekledikleri) ve hazırladıkları kayıtlı ürünlerin görsel tasarımlarını da kendi imkanlarıyla “kotardıkları” müziksel pratikler olarak Bağımsız Müzik (Indie music) pratikleri, 1970’lerin Punk akımının “kendin yap!” (do it yourself!) söyleminden ve uygulamalarından temellenir. Rock’n Roll’un
müzik endüstrisince standartlaştırılmış uygulama biçimlerine karşıt bir tavır olarak kabul gören Punk Rock, sadece ses (sound), şarkı sözleri ve icra tarzı ile değil, müzik gruplarının iş yapma biçimi ve dinleyicilerle kurdukları ilişkileriyle de alışılagelmiş Rock’n Roll’dan farklı olur. Punk hareketinin bu farklılaşmasında ana itkiyi, Rock gruplarının bağlı oldukları büyük şirketlerin, kapitalist endüstrisinin parçası olarak kabul edilmeleri oluşt
1970’ler ve 1980’ler boyunca popüler müzik çalışmaları geniş biçimde üretim (production), icra (performance) ve metin (text) konuları merkezinde gelişir. Bu yıllarda izler kitle (audience) üzerine ...yapılan çalışmalar, alt kültürel teori ya da gençlik kültürleri yaklaşımlarıyla işbirliği içindeki kuramcılar tarafından, bu yaklaşımları tanımlayıcı biçimde gerçekleşir. Ancak 1990’larda, Walkman, discman, MP3 Player, iPod gibi “kişisel müzik çalarların” (personal stereo) kullanılmaya başlanmasıyla, müziğin ve özellikle popüler müzik örneklerinin gündelik yaşam deneyimi içerisindeki kullanımı ve müziğin gündelik yaşamdaki işlevi konularına büyük bir ilgi doğar ve sözü geçen literatür şekillenmeye başlar. iPod ve internet gibi teknolojik gelişmeler, müziği günümüzde, hiç olmadığı kadar kolay ulaşılır kılar ve bu ulaşılabilirlik sayesinde insanlar, çok çeşitli şekillerde müzik dinleme imkanına sahip olur. Bireyler, bilinçli olarak ve etkin bir şekilde müziği, farklı zamanlarda, farklı durumlarda, farklı insanlarla ve farklı amaçlarla kullanır ve bu farklı dinleme içerikleri, her dinleyici tarafından değişik biçimlerde değerlendirilen, birbirinden farklı müzikal tecrübeler ortaya çıkarır. Kişisel müzik çalarlar ile müzik, plak çalar ve müzik seti gibi sabit ekipmanlarla sadece evde ve (araba dahil olmak üzere) diğer iç mekanlarda dinlenebilen yapısını kaybeder. Müzik bu yolla, insanların yanlarında taşıyabildikleri, ruh hallerine ve girecekleri ortama göre tercih yapabildikleri ve tüm bir gündelik yaşam deneyiminin bir parçası halini alabilen yeni bir kullanım biçimi kazanır.Bu çalışmanın amacı gündelik yaşamda müziğe ilişkin (music in everyday life) literatürü gözden geçirerek bireylerin kişisel müzik çalarlar yoluyla gündelik yaşam deneyimini ne şekilde değişime uğrattıklarını, müziği gündeliğin “rutin” yapısından bir kaçış aracı olarak nasıl kullandıklarını, müzik yoluyla hafızalarını ve olay algılarını nasıl şekillendirdiklerini, popüler müzik türlerini kimliklenme süreçlerinde nasıl kullandıklarını, gündelik yaşam deneyiminin bir parçası olarak popüler müzik ve yaşam tarzı (lifestyle) arasındaki ilişkiyi nasıl kurduklarını tartışmak ve konuyla ilgili literatürde eksik bırakılmış olan “müzik yapma” (music making) pratiğinin gündelik yaşam söylemindeki yerine ilişkin bir giriş yapmaktır.
Indie music practices, where bands or musicians make their own recordings, manage the music production and distrubition related organizations by themselves, do collaborative works (or support a solo ...work among themselves) and design the visual material of their self produced recordings are based on 1970s’ Punk stream’s “do it yourself!” discourse and practice. Admitted as an attitude against the praxis standardize by the Rock’n Roll music industry, Punk Rock differs from conventional Rock’n Roll by not only sound, lyrics and performance but also music bands’ usage and communication with the audience. The main impulsion of this differentiation is the consideration of major (record) companies which Rock bands are signed to, as a part of the capitalist industry. Punks, needing no elements of capitalism for managing their business, also believe and think that they can make records with their own means. For that matter, they prefer to manage all process making music and music business, including making a record. This choice, which is also the roots of the “do it yourself!” mentality, is the beginning of the production and distrubition form, today known as independent music or indie music. Praxis known as indie music, becomes effective in all popular music scenes. Musicians and bands, while making their indie praxis bu themselves, may use the mediating function of some companies or collectivities which allocate their means to indie musicians. This study purposes to understand the music praxis known as independent music or indie music. Primarily, musical production and distrubiton praxis, today known as indie music will be discussed in historical continuum, following that, the meaning of indie music in today’s sense which is now accepted as a seperate music genre will be strived to understand.
During the 1970’s and 1980’s, popular music studies was largely concentrated around issues of production, performance and text. Although some research on audiences did exist, this was largely carried ...out by theorists associated with subcultural theory or youth cultural studies, that were more broadly defined. However, in the 1990’s, with using the personal stereos like walkman, discman, MP3 players and iPod, music, use of popular music examples and functions of music in everday life topics arouse attention and the related literature begins to shape. Technological innovations such as the iPod and the Internet mean it is arguable that music is currently more readily available in a range ofcon- texts than ever before;and this accessibility means that people may well actively use music in a range oflistening contexts. People might consciously and actively use music at different times,in different situations,with different people,and for different purposes,with these different listening contexts resulting in different musical experiences that are valued differently by each listener. With using the personal stereos, music begin to lose its indoor listening structure, where only listened in houses and other indoor places including cars by using nonmovable equipment such as pickups and stereos. By this way, music gains a new way of use where people carry it with themselves, choose what to listen according to their state of mind and location and make it a part of their whole everyday life experience. The aim of this study, with overviewing the literature on music in everyday life, is to discuss, how individuals change their everyday life experience with the use of personal stereos, how they use music as a tool for avoiding everyday life “routine”, shape their memory and perception by using music, use popular music during their self identification period, and how they make the connection between popular music and lifestyle as a part of their everday life experience, and make an introduction to “place of music making practice in everday life” discourse, which is missing in literature.
Göçmen topluluklar üzerine yapılan çalışmalarda önemli bir konuyu kültürel pratiklerde göç sonrası yaşanan değişimler oluşturur. Bir göçmen topluluğun ana vatana ilişkin kültürel pratikleri, birer ...kimlik göstereni olarak ne şekilde devam ettirilmekte ya da nasıl değişikliklere uğrayarak, ana vatana ilişkin yapısını sürdürmektedir. Kültürün önemli ve ayırdedici simgesel pratiklerinden biri olan müzik, göçmen topluluklar için bir kimlik ve farklılaşma gösterenidir. Etnomüzikoloji de müziğin, diğer kültürel pratiklerden farklı olarak ya da kimi zaman diğer kültürel pratiklerin değişimilerine paralel olarak nasıl değişime uğradığı sorusunun cevabını arar. Makedonya’dan Türkiye’ye gerçekleşen göçler sonrası Türkiye’de yaşamaya başlayan Makedon göçmenler, ana vatana ilişkin diğer kültürel pratikler gibi müziği de kendi kimliklerinin bir göstereni olarak kullanmaktadırlar. Bu çalışmada, İzmir’deki Makedon göçmen topluluğun, Türkiye’de kendi müziksel pratiklerini nasıl sürdürdükleri anlaşılmaya çalışılırken, müziğin ortak bir Makedon göçmen topluluğu hayalinde nasıl bir işlevde olduğu tartışılacaktır.
The change of cultural practices after immigration forms an important research subject on immigrant communities. How do the homeland related cultural practices of an immigrant community endure as an ...indicator of identity? Or how do these practices change while maintaining their homeland related structures? Music, an important and distinctive symbolic practice in culture, is an indicator of identity and distinctness for immigrant communities. Ethnomusicology, on the other hand, seeks the answer of the question: how does music vary unlike or sometimes parallel to other cultural practices? The Macedonian immigrants, who started to live in Turkey after the immigration from Macedonia to Turkey, use music as an indicator of their identity just like other cultural practices related to their homeland. In this paper, the role of music over the image of a common Macedonian immigrant society will be discussed, while trying to understand how the Macedonian immigrant community in Izmir carries on their musical practices.
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