Müzikoloji Bölümü Koleksiyonu
Bu koleksiyon için kalıcı URI
Güncel Gönderiler
Öğe Deneyimin Dışavurumu Olarak Dengbejlik Geleneğinde Müzik(2015) Bulmuş, SongülMusic is generally conceptualized as the formation of sound which essentially consists in harmonic musical form and vibration, and thus it is referred to the physical aspect of music. However, this kind of approach to music represents tunnel vision. It may be claimed as the birth of melody that human likened his voice to the birds, wind and sea by imitating the sounds in the nature and then created music by using his voice and things. In this respect, music as a basic and primitive instinct among other fields of art have been expressed in different ways from the antiquity to the present, and therefore it becomes a multifaceted reality that should be viewed in the context of various aspects. It appears that there are some indicators on musical tissue in case music is an expression of man’s senses as a bio-psycho being and thus it is a behavioural pattern. When music is examined in the context of social, cultural, politic and economic constructions and identities, it seems that each society has a musical tradition with a sense of aesthetics and value judgments. As written literature has not improved in Kurdish society, music is very important as a language rather than means because it represents emotional world of people. Thus, the dengbej tradition on Kurdish music is essential due to provide an opportunity for oral literature to improve. In Kurdish, ’deng’ means voice and ’bej’ means tell or convey. Dengbejs besides musician have many missions in the society that they are sometimes a teacher of literature as a story teller or an actor with theatrical performance. In this tradition, Dengbejs, whose songs are entirely about every details of life, constitute collective memory by conveying social, cultural and economic situations from the past to the present. The most important assertion of therapy process is to give a new ego narrative to the patient. Consequently, the reconstructing of experience and the transformation of song into a recovery could be seen on the voice and song’s story of dengbej. In other words, it may be recognized a suppression effort on songs. Dengbejs attempt to obtain a theraupetic narrative by blending own story, and the society’s as well. Thus this narrative has a therapeutic effect. In this context, healing property of voice and word refers to transforming the function of mother from the point of Bionien. This study attmepts to emphasise what music in dengbej tradition means for daily living of musician and listener as well. In so doing, it is hoped to evaulate which factors have been effective in improving of this arthistic phenomenon and which immanent meanings of dengbej tradition appears in people’s sense of world as an expression of experiences through musicÖğe Müzik ve Politika İlişkisi Bağlamında Dengbej Müziğinin Toplumsal İşlevi(Etnomüzikoloji Derneği, 2018) Bulmuş, SongülThe relationship between human, object, and action has a special significance. This in- terrelation from the point of music performance refers to a "person-object-music rela- tion” that can be interpreted that the voice contains the audibility, and therefore, other object. When we look at the acquisition of man making music from this point, it is pos- sible to say that the man who produces the music carries wish and desire to be heard by someone else. Therefore, this form of musical expression, which people make through the practice of singing, refers to a political situation. The object of which man wants to be heard, which he is addressing to is a reflection of this political situation. In this context, when we consider that music production is related to behavior; it is possi- ble to see that when we look at music as a human behavior, not just aesthetically, but also individuality and creativity, music performance comes together on a musical basis of the individual and social factors that underlie and act on this action. In this respect, the role of words cannot be denied. Especially in a social structure where written cul- ture cannot find development possibilities, dengbejs and dengbej music, which we can evaluate in verbal culture, has an important role as a form of expression. Today, new political establishments and the degeneration experienced with the media and popular works, are not leaving an area in which different music cultures in Turkey can find opportunity to express themselves freely. The reflection of this to Kurdish mu- sic in particular can be interpreted as the fact that the assimilation and repression pol- icies of the past still keeps its problematic update and that the written culture cannot develop itself with the influence of the social events in the region. Therefore, dengbej music, one of the ways of expressing itself, has an important functional role in preserv- ing the cultural identity and handing the collective memory down generation to gen- eration. Dengbejs, under many restrictive conditions, have created their own re- sistance fields on a musical ground. In this context, while music is a tool for the discourse of power, in parallel with this, what does it gain as a means of social holding in the current tension between power and society? What kind of harmony and resistance patterns have been displayed in Kurdish society as a consequences of the state policies and social events that the gov- ernment implements periodically? What kind of tensions do the experiences encoun- tered create in society, and what are impacts on the musical basis? In so doing, it is hoped to attempt to answer these questions.Öğe Geleneksel Dengbej Müziğinin Terapötik Etkisinin Psikanalitik Açıdan Değerlendirilmesi(Porte Akademik Müzik ve Dans Araştırmaları Dergisi, 2016) Bulmuş, SongülMusic as a cultural phenomenon has different meanings and values for every society. Accordingly, musical practices might vary in quantitative and qualitative characteristics. When music is examined in the context of cultural, social and politic constructions and identities, it seems that each society has a musical tradition formed by their own aesthetics and value judgments. As written culture has not improved in Kurdish society, music is of great importance as a language rather than means because it represents emotional world of people. In this respect, dengbej music, having a vital position in expressing oneself, has therapeutical effects on mental health of people. In this article, dengbej music is psychoanalytically reviewed within the scope of projective identification theory of Wilfred R. Bion. In so doing, it is hoped to evaluate traditional performance of dengbej music as functional aspect within the context of interrelation between performer and audience.
