Research Article
BibTex RIS Cite

Biyokültürel bakış açısıyla popüler müzikte üretilen ve seçilen benzer örüntülerin temel dayanakları1

Year 2024, Volume: 12 Issue: 1, 1 - 26, 30.03.2024
https://doi.org/10.12975/rastmd.20241211

Abstract

Bu makale, popüler müziğin biyokültürel analizine odaklanarak, müzik biliminin disiplinlerarası bir yaklaşımını sunar. Müziğin biyoloji, psikoloji, sinirbilim ve karmaşıklık bilimi gibi alanlarla bütünleşmesini sağlayarak, müzikal tercihlerin ardındaki sosyal ve biyolojik süreçleri inceler. Makale, müziği yalnızca bir kültürel fenomen olmaktan öte, biyolojik boyutlarıyla ele alır ve biyokültürel yaklaşımı kullanarak, biyolojik ve kültürel etmenlerin karşılıklı etkileşiminin altını çizer. Bu çerçevede, popüler müzikteki benzerliklerin ve tekrar eden motiflerin üretim ve seçim süreçlerindeki etkileri, bireylerin müzikteki tanıdık unsurlara olan yatkınlıkları ile ilişkilendirilir ve bu bağlamda önemli hipotezler geliştirilir. Araştırmanın metodolojisi, nitel ve nicel veri analizlerinin birleşimini içerir, bilişsel ve biyolojik süreçlerin müzik tercihleriyle olan etkileşimini derinlemesine inceler. Ayrıca, benzerliklerin müzik endüstrisindeki stratejik kullanımını ve ekonomik verileri, endüstrinin dinamiklerini anlamak amacıyla değerlendirir. Bulgular, popüler müzik eserleri arasındaki benzerliklerin ve tekrar eden motiflerin, eserlerin yapısını ve dinleyiciler üzerindeki etkisini belirleyen kritik unsurlar olduğunu ortaya koyar. Bu bulgular, biyokültürel hipotezler ile desteklenir ve bilimsel araştırmalara dayanarak, zaman içinde ve farklı müzik türleri arasında bu benzerliklerin nasıl etkileşime girdiği analiz edilir. Çalışma, müzikal eserlerin tasarımı ve pazarlamasında dinleyici kitlesinin bilgi ve beklentilerinin önemini vurgular ve bu bilgilerin stratejik kullanımının müzik endüstrisinin başarısında kritik bir rol oynadığını gösterir. Sonuç olarak, makale, müzikolojinin geleneksel yaklaşımlarının ötesine geçerek, müziğin biyolojik, ekolojik ve sosyal yönlerinin entegrasyonunun önemini vurgular. Araştırma, besteleme, düzenleme, yayımlama, tüketme ve popüler müzik eserlerini pazarlama süreçlerine yenilikçi bir bakış açısı getirmeyi hedefler. Bu karmaşık sistem temelinde yükselen bilimler arası kapsamlı bakış açısı, gelecekteki müzikoloji çalışmalarında ve müzik endüstrisinin çeşitli alanlarında uygulanabilecek stratejilerin geliştirilmesine katkıda bulunacak, müzikal eserlerin daha geniş bir kitleye ulaşmasını sağlayacak yenilikçi yaklaşımlar sunar. Bu çalışma, müzik biliminin ve endüstrisinin geleceğine yönelik önemli bir adım olarak hem akademik hem de uygulamalı alanlarda yeni araştırmalar için temel oluşturur.

References

  • Drake, C. & Bertrand D. (2001). The quest for universals in temporal processing in music. Annals of the New York Academy of Sciences, 93(1), 17–27. https://doi. org/10.1111/j.1749-6632.2001.tb05722.x
  • Durham, W. (1976). The adaptive significance of cultural behavior. Human Ecology, 4, 89- 121. https://doi.org/10.1007/BF01531215.
  • Eagleman, D. (2016). Beyin (The Brain: The Story of You). (Z. A. Tozar, Çev.) İstanbul: Domingo.
  • Eagleman, D. (2021). Canlı Devre (Livewired: The Inside Story of the Ever-Changing Brain). (Z. A. Tozar, Çev.) İstanbul: Domingo Yayıncılık.
  • Eagleman, D. (2021). Canlı Devre (Livewired: The Inside Story of the Ever-Changing Brain). (Z. A. Tozar, Çev.) İstanbul: Domingo Yayıncılık.
  • Eagleman, D., & Brandt, A. (2019). Yaratıcı Tür (The Runaway Species: How Human Creativity Remakes the World). (Z. A. Tozar, Çev.). İstanbul: Domingo Yayınları.
  • Evers, S., & Suhr, B. (2000). Changes of the neurotransmitter serotonin but not of hormones during short time music perception. European Archives in Psychiatry and Clinical Neurosciences, 250, 144–147.
  • Flinn, M., & Alexander, R. (1982). Culture theory: The developing synthesis from biology. Human Ecology, 10, 383-400. https://doi.org/10.1007/BF01531192.
  • Franco, F. (2022). Ecocultural or Biocultural? Towards Appropriate Terminologies in Biocultural Diversity. Biology, 11(2), 207. https://doi.org/10.3390/biology11020207.
  • Goldstein, E. B. (2012). Bilişsel psikoloji (Cognitive Psychology). (O. Gündüz, Çev.) İstanbul: Kaknüs Yayınları.
  • Goodman, A. (2013). Bringing culture into human biology and biology back into anthropology. American Anthropologist, 115, 359-373. https://doi.org/10.1111/ AMAN.12022.
  • Goodman, A. (2013). Bringing culture into human biology and biology back into anthropology. American Anthropologist, 115, 359-373. https://doi.org/10.1111/ AMAN.12022.
  • Gribbin, J. (2013). Derin basitlik kaos, karmaşa ve yaşamın ortaya çıkışı (Deep Simplicity: Bringing Order to Chaos and Complexity). (A. Barişta, & A. Kızıltuğ, Çev.) İstanbul: Alfa Bilim.
  • Hagen, E.H., & Hammerstein, P. (2009). Did Neanderthals and other early humans sing? Seeking the biological roots of music in the territorial advertisements of primates, lions, hyenas, and wolves. Musicae Scientiae, 13, 291-320.
  • Hagen, E.H., & Hammerstein, P. (2009). Did Neanderthals and other early humans sing? Seeking the biological roots of music in the territorial advertisements of primates, lions, hyenas, and wolves. Musicae Scientiae, 13, 291-320.
  • Honing H. ten Cate C. Peretz I., & Trehub S. E. (2015). Without it no music: cognition biology and evolution of musicality. Philosophical Transactions of the Royal Society B: Biological Sciences, 370(1664). https://doi. org/10.1098/rstb.2014.0088
  • Honing H. ten Cate C. Peretz I., & Trehub S. E. (2015). Without it no music: cognition biology and evolution of musicality. Philosophical Transactions of the Royal Society B: Biological Sciences, 370(1664). https://doi. org/10.1098/rstb.2014.0088
  • Huron, D. (2001). Is music an evolutionary adaptation? Annals of the New York Academy of Sciences, 930(1), 43–61. https://doi. org/10.1111/j.1749-6632.2001.tb05724.x Itzkovitz, S., Milo, R., Kashtan, N., Levitt, R., Lahav, A., & Alon, U. (2006). Recurring harmonic walks and network motifs in Western music. Advances in Complex Systems, 09(01n02), 121-132. DOI: 10.1142/ s021952590600063x
  • Huron, D. (2001). Is music an evolutionary adaptation? Annals of the New York Academy of Sciences, 930(1), 43–61. https://doi. org/10.1111/j.1749-6632.2001.tb05724.x Itzkovitz, S., Milo, R., Kashtan, N., Levitt, R., Lahav, A., & Alon, U. (2006). Recurring harmonic walks and network motifs in Western music. Advances in Complex Systems, 09(01n02), 121-132. DOI: 10.1142/ s021952590600063x
  • Kakı, S. (2012). Türk makam müziği çalgılarından tanburun müzik prodüksiyonu için kayıt yöntem ve teknikleri (Recording techniques and methods of Turkish makam music instrument tanbur for music production). Doktora Tezi. İstanbul Teknik Üniversitesi: Sosyal Bilimler Enstitüsü, İstanbul.
  • Kakı, S. (2012). Türk makam müziği çalgılarından tanburun müzik prodüksiyonu için kayıt yöntem ve teknikleri (Recording techniques and methods of Turkish makam music instrument tanbur for music production). Doktora Tezi. İstanbul Teknik Üniversitesi: Sosyal Bilimler Enstitüsü, İstanbul.
  • Kakı, S. (2019). Kültürel tını algısı: bir Türk çalgısının yabancı kültürdeki tını algısı ve karşılaştırılmalı incelemesi. Uluslararası Müzik ve Bilimler Sempozyumu Bildirileri (s. 389-421). İstanbul: İTÜ TMDK Yayınları.
  • Keller H. (2008). Culture and biology: the foundation of pathways of development. Social and Personality Psychology Compass 668–681. https://doi. org/10.1111/j.1751-9004.2008.00092.x
  • Kulka, T. (1988). Kitsch. British Journal of Aesthetics, 28(1), 18-27. https://doi. org/10.1093/bjaesthetics/28.1.18
  • Le Bomin S. Lecointre G. & Heyer E. (2016). The evolution of musical diversity: the key role of vertical transmission. Plos One,1(3): e0151570. https://doi.org/10.1371/journal. pone.0151570
  • Lecourt, D. (2006). Bilim felsefesi (La philosophie des sciences). (I. Ergüden, Çev.) Ankara: Dost Kitabevi Yayınları.
  • Lehrer, J. (2010). Karar anı (The Decisive Moment: How The Brain Makes Up Its Mind). (F. B. Aydar, Çev.) İstanbul: Ayrıntı Bilim.
  • Lieberman, M. D. (2020). Sosyal beynimiz neden bağlantı kurmaya yönelik yapılanmış? (Social Why Our Brains Are Wired to Connect) (Y. Ataman, Çev.) Ankara: Görünmez Adam Yayıncılık.
  • Lumaca M. & Baggio G. (2016). Brain potentials predict learning transmission and modification of an artificial symbolic system. Social Cognitive and Affective Neuroscience, 11(12) 1970–1979. https:// doi.org/10.1093/scan/nsw112
  • Lüdemann, Winfried A. (2022). Perspectives on music and evolution. HTS Theological Studies 78(2), 13.
  • Macnaghten, P., & Urry, J. (1995). Towards a sociology of nature. Sociology, 29, 203-220. https://doi.org/10.1177/0038038595029002 002.
  • Martin, P. (2006). Musicians› worlds: music- making as a collaborative activity. Symbolic Interaction, 29, 95-107. https://doi. org/10.1525/SI.2006.29.1.95
  • Medina, J. (2013). Beynin kuralları (Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School). (G. Tuna, Çev.) İstanbul: Kuzey Yayınları.
  • Middleton R. (1993). Popular music analysis and musicology: bridging the gap. Popular Music, 12, 177–190.
  • Miller, G. (2000). Evolution of human music through sexual selection, In N. L. Wallin, B. Merker, S. Brown eds, The Origins of Music, Cambridge (MA), M.I.T. Press.
  • Mithen S. J. (2011). The singing neanderthals: the origin of music language mind and body. Weidenfeld & Nicolson.
  • Moore, F. (2020). Foreword. In The Economic Impact of Music in Europe (ss. 1-2). International Federation of the Phonographic Industry (IFPI). https:// www.oxfordeconomics.com/resource/the- economic- impact-of-music-in-europe/
  • Moore, F. (2020). Foreword. In The Economic Impact of Music in Europe (ss. 1-2). International Federation of the Phonographic Industry (IFPI). https:// www.oxfordeconomics.com/resource/the- economic- impact-of-music-in-europe/
  • Morley, I. (2013). The prehistory of music : human evolution archaeology and the origins of musicality (First pbk.). Oxford University Press.
  • Moussallam, M., Daudet, L., & Richard, G. (2011). Audio signal representations for factorization in the sparse domain. DOI: 10.1109/icassp.2011.5946453
  • National Geographic. (2014, Kasım 1).Dehanın Sırları Belgeseli: Müzik Dehası [Video]. YouTube. https://www.youtube. com/watch?v=-iGYVUu0Dgs&t=2345s
  • National Geographic. (2014, Kasım 1).Dehanın Sırları Belgeseli: Müzik Dehası [Video]. YouTube. https://www.youtube. com/watch?v=-iGYVUu0Dgs&t=2345s
  • Nummenmaa, L. & Hari R. (2023). Bodily feelings and aesthetic experience of art. Cognition and Emotion, 37(3), 515–528. https://doi.org/10.1080/02699931.2023.21 83180
  • Parr, L. A. Waller B. M. & Fugate J. (2005). Emotional communication in primates: implications for neurobiology. Current Opinion in Neurobiology, 15(6), 716–20.
  • Peretz, I. (2006). The nature of music from a biological perspective. Cognition, 100, 1-32.
  • Perlovsky,L.(2012).Cognitivefunction,origin, and evolution of musical emotions. Musicae Scientiae, 16(2), 185-199. https://doi. org/10.1177/1029864912448327
  • Plotkin, H. (2012). Kültür ve psikolojik mekanizmalar. (Culture and psychological mechanisms) R. Aunger içinde, Kültürün Darwincileşmesi. (A. Sağlam, Çev., s. 105- 121). İstanbul: Alfa Bilim. Record companies: Powering the Music Ecosystem. (2020). https://powering-the- music-ecosystem.ifpi.org/
  • Plotkin, H. (2012). Kültür ve psikolojik mekanizmalar. (Culture and psychological mechanisms) R. Aunger içinde, Kültürün Darwincileşmesi. (A. Sağlam, Çev., s. 105- 121). İstanbul: Alfa Bilim. Record companies: Powering the Music Ecosystem. (2020). https://powering-the- music-ecosystem.ifpi.org/
  • Rose, S. (2018). 21. Yüzyılda beyin (The 21st Century Brain). (L. C. Yılmaz, Çev.) İstanbul: Ginko Bilim.
  • Rzeszutek, T. Savage P. E. & Brown S. (2012). The structure of cross-cultural musical diversity. Proceedings. Biological Sciences, 279(1733), 1606–1612. https:// doi.org/10.1098/rspb.2011.1750
  • Sapolsky, R. (2021). Davranış: En iyi ve en kötü haliyle insan biyolojisi (Behave: The Biology of Humans at Our Best and Worst). (B. Baysal, Çev.) İstanbul: Pegasus Yayınları.
  • Savage, P. E. Brown S. Sakai E. & Currie T. E. (2015). Statistical universals reveal the structures and functions of human music. Proceedings of the National Academy of Sciences, 112(9), 8987–8992. https://doi. org/10.1073/pnas.1414495112
  • Secora, J. P. G. (2014). Evolution. In Music in the Social & Behavioral Sciences Vol 1. Sage Publications.
  • Senn, O. (2023). A predictive coding approach to modelling the perceived complexity of popular music drum patterns. Heliyon, 9(4), e15199. DOI: 10.1016/j.heliyon.2023.e15199
  • Senn, O., Bechtold, T. A., Hoesl, F., & Kilchenmann, L. (2021). Taste and familiarity affect the experience of groove in popular music. Musicae Scientiae, 25(1), 45–66. https://doi.org/10.1177/1029864919839172
  • Serrà, J., Corral, Á., Boguñá, M., Haro, M., & Arcos, J. L. (2012). Measuring the evolution of contemporary Western popular music. Scientific Reports, 2(1), 521. DOI: 10.1038/ SREP00521
  • Shopin, P. (2017, 10 15). Rough, smooth or deep: why the sound of a voice is multisensory. https://aeon.co/ideas/rough- smooth-or-deep-why-the-sound-of-a-voice- is-multisensory
  • Small, C. (1998). Musicking: the meanings of performing and listening. Wesleyan University Press.
  • Snyder, B. (2008). Memory for music. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (pp. 167–180). Oxford University Press.
  • Stumpf C. & Trippett D. (2012). The origins of music. Oxford University Press. https://doi.org/10.1093/ acprof:oso/9780199695737.001.0001.
  • Sutherland, S. (2013). İrrasyonel (Irrationality). (T. Uyar, Çev.) İstanbul: Domingo Yayınları.
  • Tagg, P. (1982). Analysing popular music: theory, method and practice. Popular Music, 2, 37–67. http://www.jstor.org/ stable/852975
  • The Economic Impact of Music in Europe (2020). (2022, 08,10). Oxford Economics: https://www.oxfordeconomics.com
  • Thompson, B. Kirby S. & Smith K. (2016). Culture shapes the evolution of cognition. Proceedings of the National Academy of Sciences of the United States of America 4530–4535. https://doi. org/10.1073/pnas.1523631113
  • Thompson, B. Kirby S. & Smith K. (2016). Culture shapes the evolution of cognition. Proceedings of the National Academy of Sciences of the United States of America 4530–4535. https://doi. org/10.1073/pnas.1523631113
  • Till, R. (2013). Twenty first century popular music studies. IASPM Journal, 3(2), 1–14. https://doi.org/10.5429/2079-3871(2013) v3i2.1en
  • Tomlinson, G. (2013). Evolutionary studies in the humanities: the case of music. Critical Inquiry, 39(4), 647-675.
  • Tomlinson, G. (2015). A million years of music: the emergence of human modernity. Zone Books.
  • Trehub, S. E. (2000). Human processing predispositions and musical universals, In Wallin NL, Merker B, Brown S. The Origins of Music. The MIT Press. pp 427–448.
  • Wallin, N. L. Merker Björn & Brown S. (2000). The origins of music. MIT Press.
  • Wallin, N. L. (1991). Biomusicology: neurophysiological, neuropsychological, and evolutionary perspectives on the origins and purposes of music. Stuyvesant,NY: Pendragon Press.
  • Zuckerman M. K. & Martin D. L. (2016). New directions in biocultural anthropology. John Wiley & Sons. https://doi. org/10.1002/9781118962954

Basic Foundations of Produced and Selected Similar Patterns in Popular Music from a Biocultural Perspective

Year 2024, Volume: 12 Issue: 1, 1 - 26, 30.03.2024
https://doi.org/10.12975/rastmd.20241211

Abstract

This article adopts an interdisciplinary approach in musicology to present a biocultural analysis of popular music. The research concentrates on the interaction between biological and cultural factors, examining the similarities in the production and selection processes of popular music and hypothesizing about these similarities’ influence on production and selection principles. The study aims to integrate musicology with disciplines like biology, psychology, neuroscience, and complexity science by exploring the interplay of cognitive and biological processes behind musical preferences.
The research methodology is a synthesis of qualitative and quantitative data analyses. It delves into the interaction of cognitive and biological processes with musical preferences and the strategic use of similarities in popular music production. Economic data is also examined to understand the dynamics of the music industry. The findings reveal that similarities and recurring motifs among popular music works are significant elements that determine their structure and impact on listeners. Biocultural hypotheses for these similarities are supported with references to scientific studies. The study also investigates how these similarities interact over time and across different music genres. The article highlights the importance of audience knowledge and expectations in the design and marketing of musical works. The research presents a comprehensive approach to music and biocultural interactions, emphasizing the relationships between the cultural and biological dimensions of music in complex systems and underlining the necessity of interdisciplinarity in musicology. It aims to provide new perspectives on the role of music in human experience, encompassing the entire process from the production to the consumption of future musical works. The article details the decision mechanisms behind musical preferences from a biocultural perspective, including the social and biological interactions of music. It examines how individuals’ musical preferences are shaped by the interplay of cognitive and biological processes, focusing on how these processes affect tendencies towards familiar musical elements. In conclusion, the article goes beyond traditional approaches in musicology, emphasizing a necessary orientation towards integrating the biological, ecological, and social aspects of music. The research aims to bring a new perspective to the processes involved in composing, arranging, publishing, consuming, and marketing popular musical works.

References

  • Drake, C. & Bertrand D. (2001). The quest for universals in temporal processing in music. Annals of the New York Academy of Sciences, 93(1), 17–27. https://doi. org/10.1111/j.1749-6632.2001.tb05722.x
  • Durham, W. (1976). The adaptive significance of cultural behavior. Human Ecology, 4, 89- 121. https://doi.org/10.1007/BF01531215.
  • Eagleman, D. (2016). Beyin (The Brain: The Story of You). (Z. A. Tozar, Çev.) İstanbul: Domingo.
  • Eagleman, D. (2021). Canlı Devre (Livewired: The Inside Story of the Ever-Changing Brain). (Z. A. Tozar, Çev.) İstanbul: Domingo Yayıncılık.
  • Eagleman, D. (2021). Canlı Devre (Livewired: The Inside Story of the Ever-Changing Brain). (Z. A. Tozar, Çev.) İstanbul: Domingo Yayıncılık.
  • Eagleman, D., & Brandt, A. (2019). Yaratıcı Tür (The Runaway Species: How Human Creativity Remakes the World). (Z. A. Tozar, Çev.). İstanbul: Domingo Yayınları.
  • Evers, S., & Suhr, B. (2000). Changes of the neurotransmitter serotonin but not of hormones during short time music perception. European Archives in Psychiatry and Clinical Neurosciences, 250, 144–147.
  • Flinn, M., & Alexander, R. (1982). Culture theory: The developing synthesis from biology. Human Ecology, 10, 383-400. https://doi.org/10.1007/BF01531192.
  • Franco, F. (2022). Ecocultural or Biocultural? Towards Appropriate Terminologies in Biocultural Diversity. Biology, 11(2), 207. https://doi.org/10.3390/biology11020207.
  • Goldstein, E. B. (2012). Bilişsel psikoloji (Cognitive Psychology). (O. Gündüz, Çev.) İstanbul: Kaknüs Yayınları.
  • Goodman, A. (2013). Bringing culture into human biology and biology back into anthropology. American Anthropologist, 115, 359-373. https://doi.org/10.1111/ AMAN.12022.
  • Goodman, A. (2013). Bringing culture into human biology and biology back into anthropology. American Anthropologist, 115, 359-373. https://doi.org/10.1111/ AMAN.12022.
  • Gribbin, J. (2013). Derin basitlik kaos, karmaşa ve yaşamın ortaya çıkışı (Deep Simplicity: Bringing Order to Chaos and Complexity). (A. Barişta, & A. Kızıltuğ, Çev.) İstanbul: Alfa Bilim.
  • Hagen, E.H., & Hammerstein, P. (2009). Did Neanderthals and other early humans sing? Seeking the biological roots of music in the territorial advertisements of primates, lions, hyenas, and wolves. Musicae Scientiae, 13, 291-320.
  • Hagen, E.H., & Hammerstein, P. (2009). Did Neanderthals and other early humans sing? Seeking the biological roots of music in the territorial advertisements of primates, lions, hyenas, and wolves. Musicae Scientiae, 13, 291-320.
  • Honing H. ten Cate C. Peretz I., & Trehub S. E. (2015). Without it no music: cognition biology and evolution of musicality. Philosophical Transactions of the Royal Society B: Biological Sciences, 370(1664). https://doi. org/10.1098/rstb.2014.0088
  • Honing H. ten Cate C. Peretz I., & Trehub S. E. (2015). Without it no music: cognition biology and evolution of musicality. Philosophical Transactions of the Royal Society B: Biological Sciences, 370(1664). https://doi. org/10.1098/rstb.2014.0088
  • Huron, D. (2001). Is music an evolutionary adaptation? Annals of the New York Academy of Sciences, 930(1), 43–61. https://doi. org/10.1111/j.1749-6632.2001.tb05724.x Itzkovitz, S., Milo, R., Kashtan, N., Levitt, R., Lahav, A., & Alon, U. (2006). Recurring harmonic walks and network motifs in Western music. Advances in Complex Systems, 09(01n02), 121-132. DOI: 10.1142/ s021952590600063x
  • Huron, D. (2001). Is music an evolutionary adaptation? Annals of the New York Academy of Sciences, 930(1), 43–61. https://doi. org/10.1111/j.1749-6632.2001.tb05724.x Itzkovitz, S., Milo, R., Kashtan, N., Levitt, R., Lahav, A., & Alon, U. (2006). Recurring harmonic walks and network motifs in Western music. Advances in Complex Systems, 09(01n02), 121-132. DOI: 10.1142/ s021952590600063x
  • Kakı, S. (2012). Türk makam müziği çalgılarından tanburun müzik prodüksiyonu için kayıt yöntem ve teknikleri (Recording techniques and methods of Turkish makam music instrument tanbur for music production). Doktora Tezi. İstanbul Teknik Üniversitesi: Sosyal Bilimler Enstitüsü, İstanbul.
  • Kakı, S. (2012). Türk makam müziği çalgılarından tanburun müzik prodüksiyonu için kayıt yöntem ve teknikleri (Recording techniques and methods of Turkish makam music instrument tanbur for music production). Doktora Tezi. İstanbul Teknik Üniversitesi: Sosyal Bilimler Enstitüsü, İstanbul.
  • Kakı, S. (2019). Kültürel tını algısı: bir Türk çalgısının yabancı kültürdeki tını algısı ve karşılaştırılmalı incelemesi. Uluslararası Müzik ve Bilimler Sempozyumu Bildirileri (s. 389-421). İstanbul: İTÜ TMDK Yayınları.
  • Keller H. (2008). Culture and biology: the foundation of pathways of development. Social and Personality Psychology Compass 668–681. https://doi. org/10.1111/j.1751-9004.2008.00092.x
  • Kulka, T. (1988). Kitsch. British Journal of Aesthetics, 28(1), 18-27. https://doi. org/10.1093/bjaesthetics/28.1.18
  • Le Bomin S. Lecointre G. & Heyer E. (2016). The evolution of musical diversity: the key role of vertical transmission. Plos One,1(3): e0151570. https://doi.org/10.1371/journal. pone.0151570
  • Lecourt, D. (2006). Bilim felsefesi (La philosophie des sciences). (I. Ergüden, Çev.) Ankara: Dost Kitabevi Yayınları.
  • Lehrer, J. (2010). Karar anı (The Decisive Moment: How The Brain Makes Up Its Mind). (F. B. Aydar, Çev.) İstanbul: Ayrıntı Bilim.
  • Lieberman, M. D. (2020). Sosyal beynimiz neden bağlantı kurmaya yönelik yapılanmış? (Social Why Our Brains Are Wired to Connect) (Y. Ataman, Çev.) Ankara: Görünmez Adam Yayıncılık.
  • Lumaca M. & Baggio G. (2016). Brain potentials predict learning transmission and modification of an artificial symbolic system. Social Cognitive and Affective Neuroscience, 11(12) 1970–1979. https:// doi.org/10.1093/scan/nsw112
  • Lüdemann, Winfried A. (2022). Perspectives on music and evolution. HTS Theological Studies 78(2), 13.
  • Macnaghten, P., & Urry, J. (1995). Towards a sociology of nature. Sociology, 29, 203-220. https://doi.org/10.1177/0038038595029002 002.
  • Martin, P. (2006). Musicians› worlds: music- making as a collaborative activity. Symbolic Interaction, 29, 95-107. https://doi. org/10.1525/SI.2006.29.1.95
  • Medina, J. (2013). Beynin kuralları (Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School). (G. Tuna, Çev.) İstanbul: Kuzey Yayınları.
  • Middleton R. (1993). Popular music analysis and musicology: bridging the gap. Popular Music, 12, 177–190.
  • Miller, G. (2000). Evolution of human music through sexual selection, In N. L. Wallin, B. Merker, S. Brown eds, The Origins of Music, Cambridge (MA), M.I.T. Press.
  • Mithen S. J. (2011). The singing neanderthals: the origin of music language mind and body. Weidenfeld & Nicolson.
  • Moore, F. (2020). Foreword. In The Economic Impact of Music in Europe (ss. 1-2). International Federation of the Phonographic Industry (IFPI). https:// www.oxfordeconomics.com/resource/the- economic- impact-of-music-in-europe/
  • Moore, F. (2020). Foreword. In The Economic Impact of Music in Europe (ss. 1-2). International Federation of the Phonographic Industry (IFPI). https:// www.oxfordeconomics.com/resource/the- economic- impact-of-music-in-europe/
  • Morley, I. (2013). The prehistory of music : human evolution archaeology and the origins of musicality (First pbk.). Oxford University Press.
  • Moussallam, M., Daudet, L., & Richard, G. (2011). Audio signal representations for factorization in the sparse domain. DOI: 10.1109/icassp.2011.5946453
  • National Geographic. (2014, Kasım 1).Dehanın Sırları Belgeseli: Müzik Dehası [Video]. YouTube. https://www.youtube. com/watch?v=-iGYVUu0Dgs&t=2345s
  • National Geographic. (2014, Kasım 1).Dehanın Sırları Belgeseli: Müzik Dehası [Video]. YouTube. https://www.youtube. com/watch?v=-iGYVUu0Dgs&t=2345s
  • Nummenmaa, L. & Hari R. (2023). Bodily feelings and aesthetic experience of art. Cognition and Emotion, 37(3), 515–528. https://doi.org/10.1080/02699931.2023.21 83180
  • Parr, L. A. Waller B. M. & Fugate J. (2005). Emotional communication in primates: implications for neurobiology. Current Opinion in Neurobiology, 15(6), 716–20.
  • Peretz, I. (2006). The nature of music from a biological perspective. Cognition, 100, 1-32.
  • Perlovsky,L.(2012).Cognitivefunction,origin, and evolution of musical emotions. Musicae Scientiae, 16(2), 185-199. https://doi. org/10.1177/1029864912448327
  • Plotkin, H. (2012). Kültür ve psikolojik mekanizmalar. (Culture and psychological mechanisms) R. Aunger içinde, Kültürün Darwincileşmesi. (A. Sağlam, Çev., s. 105- 121). İstanbul: Alfa Bilim. Record companies: Powering the Music Ecosystem. (2020). https://powering-the- music-ecosystem.ifpi.org/
  • Plotkin, H. (2012). Kültür ve psikolojik mekanizmalar. (Culture and psychological mechanisms) R. Aunger içinde, Kültürün Darwincileşmesi. (A. Sağlam, Çev., s. 105- 121). İstanbul: Alfa Bilim. Record companies: Powering the Music Ecosystem. (2020). https://powering-the- music-ecosystem.ifpi.org/
  • Rose, S. (2018). 21. Yüzyılda beyin (The 21st Century Brain). (L. C. Yılmaz, Çev.) İstanbul: Ginko Bilim.
  • Rzeszutek, T. Savage P. E. & Brown S. (2012). The structure of cross-cultural musical diversity. Proceedings. Biological Sciences, 279(1733), 1606–1612. https:// doi.org/10.1098/rspb.2011.1750
  • Sapolsky, R. (2021). Davranış: En iyi ve en kötü haliyle insan biyolojisi (Behave: The Biology of Humans at Our Best and Worst). (B. Baysal, Çev.) İstanbul: Pegasus Yayınları.
  • Savage, P. E. Brown S. Sakai E. & Currie T. E. (2015). Statistical universals reveal the structures and functions of human music. Proceedings of the National Academy of Sciences, 112(9), 8987–8992. https://doi. org/10.1073/pnas.1414495112
  • Secora, J. P. G. (2014). Evolution. In Music in the Social & Behavioral Sciences Vol 1. Sage Publications.
  • Senn, O. (2023). A predictive coding approach to modelling the perceived complexity of popular music drum patterns. Heliyon, 9(4), e15199. DOI: 10.1016/j.heliyon.2023.e15199
  • Senn, O., Bechtold, T. A., Hoesl, F., & Kilchenmann, L. (2021). Taste and familiarity affect the experience of groove in popular music. Musicae Scientiae, 25(1), 45–66. https://doi.org/10.1177/1029864919839172
  • Serrà, J., Corral, Á., Boguñá, M., Haro, M., & Arcos, J. L. (2012). Measuring the evolution of contemporary Western popular music. Scientific Reports, 2(1), 521. DOI: 10.1038/ SREP00521
  • Shopin, P. (2017, 10 15). Rough, smooth or deep: why the sound of a voice is multisensory. https://aeon.co/ideas/rough- smooth-or-deep-why-the-sound-of-a-voice- is-multisensory
  • Small, C. (1998). Musicking: the meanings of performing and listening. Wesleyan University Press.
  • Snyder, B. (2008). Memory for music. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (pp. 167–180). Oxford University Press.
  • Stumpf C. & Trippett D. (2012). The origins of music. Oxford University Press. https://doi.org/10.1093/ acprof:oso/9780199695737.001.0001.
  • Sutherland, S. (2013). İrrasyonel (Irrationality). (T. Uyar, Çev.) İstanbul: Domingo Yayınları.
  • Tagg, P. (1982). Analysing popular music: theory, method and practice. Popular Music, 2, 37–67. http://www.jstor.org/ stable/852975
  • The Economic Impact of Music in Europe (2020). (2022, 08,10). Oxford Economics: https://www.oxfordeconomics.com
  • Thompson, B. Kirby S. & Smith K. (2016). Culture shapes the evolution of cognition. Proceedings of the National Academy of Sciences of the United States of America 4530–4535. https://doi. org/10.1073/pnas.1523631113
  • Thompson, B. Kirby S. & Smith K. (2016). Culture shapes the evolution of cognition. Proceedings of the National Academy of Sciences of the United States of America 4530–4535. https://doi. org/10.1073/pnas.1523631113
  • Till, R. (2013). Twenty first century popular music studies. IASPM Journal, 3(2), 1–14. https://doi.org/10.5429/2079-3871(2013) v3i2.1en
  • Tomlinson, G. (2013). Evolutionary studies in the humanities: the case of music. Critical Inquiry, 39(4), 647-675.
  • Tomlinson, G. (2015). A million years of music: the emergence of human modernity. Zone Books.
  • Trehub, S. E. (2000). Human processing predispositions and musical universals, In Wallin NL, Merker B, Brown S. The Origins of Music. The MIT Press. pp 427–448.
  • Wallin, N. L. Merker Björn & Brown S. (2000). The origins of music. MIT Press.
  • Wallin, N. L. (1991). Biomusicology: neurophysiological, neuropsychological, and evolutionary perspectives on the origins and purposes of music. Stuyvesant,NY: Pendragon Press.
  • Zuckerman M. K. & Martin D. L. (2016). New directions in biocultural anthropology. John Wiley & Sons. https://doi. org/10.1002/9781118962954
There are 72 citations in total.

Details

Primary Language Turkish
Subjects Music Cognition, Music Performance, Theories of Music, Musicology and Ethnomusicology, Music (Other)
Journal Section Original research
Authors

Güncel Gürsel Artıktay 0000-0002-1874-4505

Early Pub Date March 29, 2024
Publication Date March 30, 2024
Submission Date November 4, 2023
Acceptance Date January 2, 2024
Published in Issue Year 2024 Volume: 12 Issue: 1

Cite

APA Artıktay, G. G. (2024). Biyokültürel bakış açısıyla popüler müzikte üretilen ve seçilen benzer örüntülerin temel dayanakları1. Rast Müzikoloji Dergisi, 12(1), 1-26. https://doi.org/10.12975/rastmd.20241211

Yazarlarımızın editöryal süreçlerin aksamaması için editöryal emaillere 3 gün içinde yanıt vermeleri gerekmektedir.