KÜLTÜREL KARŞILAŞMALAR: MELEZ MÜZİKLER
Küçük Resim Yok
Tarih
2017
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Her jenerasyona kendi kültürü özgün gelse de makalenin odağında yer alan müzik üzerine çalışmalarda da görüleceği üzere değişim ve dönüşüm kültürün başat ögeleridir. Dinamik ve çok boyutlu sosyo-kültürel bağlamıyla müzik, oluşumunda belirleyici olan ilişkisel süreçlerin geçici zaman ve mekana göre sürekli farklılaşacak- bir ifade biçimidir. Doğu kültürü-Batı kültürü, modern kültür-geleneksel kültür, evrensel kültür-ulusal kültür, küresel kültür-yerel kültür gibi tüm dikotomik yapılar tamamen kurgusaldır ve dışlama-içerme stratejilerinin bir sonucudur. Çalışmanın kuramsal temelini post-kolonyal öğretinin öncülerinden Homi K. Bhabha'nın "üçüncü uzam" (third space) kuramı oluşturmaktadır. Bhabha, kültürel tercüme ve taklit kavramlarından hareketle üçüncü uzamı melezliğin kendisi olarak açıklar. Çalışmada, çeşitli sosyo-kültürel bağlamların etkileşimi olan ve melezleşme olgusunun dünya genelinde belki de en görünür örneği olan müzik ürünleri bu kuramsal çerçevede irdelenmektedir.
Every culture is authentic for its generation but change and transformation are the dominant elements of culture in the musical studies that are focused on this paper. With its dynamic and multidimensional socio-cultural structure, music is an expression form that relational processes are important factors in its formation and continuously differentiates according to temporary time and space. All dichotomic structures such as East culture-West culture, modern culture-traditional culture, universal culture-national culture, global culture-local culture are completely fictional and the result of deletion/insertion strategies. Theoretical basis of this study consists of the term "third space" which is derived by Homi K. Bhabba, one of the pioneers of postcolonial theory. In this study, musical products, which are integration of various socio-cultural contexts and may be the most visible example of hybridity in the worldwide, are analyzed in this theoretical framework while Bhabha explains "third space" as hybridity with mimicry and cultural translation.
Every culture is authentic for its generation but change and transformation are the dominant elements of culture in the musical studies that are focused on this paper. With its dynamic and multidimensional socio-cultural structure, music is an expression form that relational processes are important factors in its formation and continuously differentiates according to temporary time and space. All dichotomic structures such as East culture-West culture, modern culture-traditional culture, universal culture-national culture, global culture-local culture are completely fictional and the result of deletion/insertion strategies. Theoretical basis of this study consists of the term "third space" which is derived by Homi K. Bhabba, one of the pioneers of postcolonial theory. In this study, musical products, which are integration of various socio-cultural contexts and may be the most visible example of hybridity in the worldwide, are analyzed in this theoretical framework while Bhabha explains "third space" as hybridity with mimicry and cultural translation.
Açıklama
Anahtar Kelimeler
Sanat
Kaynak
The Turkish Online Journal of Design, Art and Communication
WoS Q Değeri
Scopus Q Değeri
Cilt
7
Sayı
3
