Klasik Yunan Müzik Sosyolojisine Doğru

Year 2017, Volume: 37 Issue: 2, 211 - 258, 15.12.2017

Mark Griffith

Abstract

Bu makalede Arkaik ve Klasik Yunan tarihinde (MÖ yak. 750-320) çeşitli türden müziklerin icra edildiği farklı durumları eşsüremli bir bakış açısıyla kısaca gözden geçirerek, bu icraların farklı toplumsal işlevlerini ve dinleyicileri üzerinde bıraktığı (ya da bırakması beklenen) çeşitli etkilerini ve ayrıca Yunan kültürünün, bünyesindeki geniş ve çok yönlü müzikal faaliyetlerle ilgili farklı tavır ve değerlerini tartışacağım. Eski Yunan müziğine ilişkin bir sosyoloji bu müziğin tarihinden de, bu müzik kültürüyle ilgili salt felsefi/estetik ya da teknik anlayıştan da kısmen de olsa farklılık arz edecektir. Bu yüzden, gerçek anlamda sosyolojik bir incelemede müziğin neye tekabül ettiği ve insanların ne işine yaradığı, çeşitli türlerinin kimler tarafından icra edildiği, bu farklı türleri kimlerin dinlediği ve(ya) hangi tepkiyi verdiği, kuramcılar ve filozoflar kadar, sıradan Yunan halkının da daha geniş sosyal ve kozmolojik dünyaları bağlamında müzik hakkında ne düşündüğü, kültürün hem içinden hem dışından bakılarak araştırılmalıdır. Bu makale Yunan müzik performanslarının “anında icra” ve bedensellik yönünün yanı sıra biçim açısından çeşitli ama her durumda güçlü ruhsal etkisine de eğilerek, incelenmekte geç kalınmış bir konuyu ele almaktadır. Bilhassa toplumsal cinsiyet, statü ve etnisite farklılıkları, çeşitli müzik dillerinin ve çalgıların toplumsal işlevsellikleriyle ilgili muhtelif yazılı ve görsel kaynaklar bulunmakla birlikte, Aristoteles’in (özellikle de Politika eserinin) bu konularda en yararlı ve güvenilir kılavuz olduğu kanısındayız.

Keywords

Eski Yunan müzik kültürü, Aristoteles’in müzik üzerine düşünceleri, Müzik ve toplumsal farklılıklar, Müzik ve toplumsal cinsiyet, Müzik ve toplumsal kimlikler, Müzikal performanstaki bedensellik, Müzik ve duygu

Towards a Sociology of Classical Greek Music

Abstract

In this article I briefly survey, from a synchronic perspective, the various occasions on which music of one kind or another was played in archaic and classical Greece (ca. 750-320 BCE), and discuss the different social functions served by these performances and the various effects that they made (or were supposed to make) on their audiences. A sociology of ancient Greek music should look somewhat different from a history of that music, and different too from a purely philosophical/aesthetic or technical appreciation of that musical culture; and I attempt to include both etic and emic accounts of what music amounted to, what it did for people, who (i.e. members of which social groups and classes) performed the various different kinds of music, and who listened and/or responded in one way or another to these different kinds, and trying to assess what ordinary Greek people, as well as theorists and philosophers, thought about the role of music and musicians within their larger social and existential world. This article attempts to take due account of the “liveness” and corporeality of all Greek musical performance, and of its strong, but not uniform, affective impact. In particular, I focus on differences of gender, status, and ethnicity, and on the social functionalities of different musical idioms and instruments (strings, pipes, and percussion) that we can identify from our various sources, both literary and visual. Overall, I find Aristotle (especially in the Politics) to be the most helpful and reliable guide.

Keywords

Ancient Greek musical culture, Aristotle’s views on music, Music and social differences, Music and gender, Music and identities, Corporeality in musical performance, Music and emotion

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