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The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity

Yıl 2017, Sayı: 80, 317 - 338, 01.02.2017

Öz

Çalışmamda yüzyıllardır üfleme tekniğiyle çalınan Ağız Komuzu’nun geçmiş geleneklerden, birikimlerden güçlenerek günümüze kadar ulaşabilen ezgilerinin Amerikalılara ve Kırgızlara dinletildiğinde yarattığı güçlü etki ortaya konulmaktadır. BMGIM İmgelem ve Müziğin Bonny Yöntemi Ağız Komuzu ezgilerinin dinleyici üzerindeki belirgin etkilerinin kanıtlarıyla ortaya çıkarılması için seçilen yöntemdir. Araştırmaya Amerikan ve Kırgız kültüründen temsilciler katılmış, ağız komuzundan açığa çıkan ezgilerin etkileri gözlem, görüşme, müzik oturumları kapsamında incelenerek bağımlı-bağımsız değişkenler oluşturulmuştur. Bağımsız değişkenin ağız komuzu ezgilerinin katılımcının zihninde çağrışım yaratarak bıraktıkları ezgilerin açığa çıkmasıyla oluşan bağımlı değişkenlerin zihin, duygusal his, çağrıştırma imgeleriyle nasıl etkileştiği açıklanmaya çalışılmıştır. Çalışmada temsilcilere ezgiler canlı, banttan dinletildiğinde ezgilerin bireylerin üzerinde rahatlama, hatırlatma, serbest çağrışım, hikâye anlatıcılığı imgelemi gibi eylemlerle çağrışımsal etkisi açığa çıkmıştır. Sonuç olarak; Ağız komuzu’nun, kültürlerin arka planlarındaki tarih, kültür, kişinin kimliği hayal gücüyle yakından ilişkilendirilmekte, temel etki olarak kültürler üzerinde çok güçlü tesirler yaratmakta ve yaratmaya devam etmekte olduğu ve bu etkinin çok güçlü olduğu ortaya çıkmaktadır.

Kaynakça

  • Abrams, Brian (2001). Defining Transpersonal Experiences of Guided Imagery and Music GIM). Doctoral Dissertation. Temple University. Dissertation Abstracts International –A.61 (10), 3817.
  • Abrams, Brian (2002). “Transpersonal Dimensions of the Bonny Method”. Guided Imagery and Music: The Bonny Method and Beyond. Eds. K. E. Bruscia & D.E. Grocke. Gilsum, NH, USA: Barcelona.
  • Achterberg, Jeanne (1985). Imagery in Healing: Shamanism and Modern Medicine. Boston, MA: Shambhala.
  • Aggleton, John & Mortimer Mishkin (1986). “The Amygdala: Gateway to the Emotions”. Emotion: Theory, Research, and Experience: Volume Three – Biological Foundations of Emotions. Eds. R. Plutchik & H. Kellerman.
  • Orlando: Academic Press. 281-299.
  • Alexeyev, Ivan & Spiridon Shishigin (2004). “The Music of the Yakut Traditional Khomuz”. Journal of the International Jew’s Harp Society 1: 88-94.
  • Anderson, Rosemarie (1998). “Introduction”. Transpersonal Research Methods for the Social Sciences. Eds. William Braud and Rosemarie Anderson. Thousand Oaks, CA: Sage. xix- xxxi.
  • Assagioli, Roberto (1965). Psychosynthesis: A Manual of Principles and Techniques. New York, NY: Hobbs, Dormann & Co. 237-266.
  • Bakx, Phons (1998). “The Jew’s Harp and the Hindu God Shiva: Into the Symbolism of Procreation”. The Thoughts’ Dispeller Booklet Series 1. Middleburg: Stichting/ Foundation Antropodium.
  • Bonny, L. Helen & N. Walter Pahnke (1972). “The Use of Music in Psychedelic (LSD) Psychotherapy”. Journal of Music Therapy 9 (2): 64-87.
  • Bonny, L. Helen & Roy Tansill (2002). “Music Therapy: A legal High”. Music and Consciousness: The Evolution of Guided Imagery and Music. Ed. L. Summer. Gilsum, NH: Barcelona Publishers. 185-204.
  • Bonny, L. Helen (2002). Music Consciousness: The evolution of Guided Imagery and Music. Ed. Lisa Summer. Gilsum, N.H: Barcelona Publishers. 404.
  • Bruscia, E. Kenneth (2012). Case Examples of Music Therapy for Self-Development. Gilsum, NH, USA: Barselona Publishers.
  • Buell, Rebecca (1999). “Emerging Through Music: A Journey Toward Wholeness with Guided Imagery and Music”. Inside Music Therapy: Client Experiences. Ed. J. Hibben Gilsum, NH: Barcelona Publishers. 45-51.
  • Bush, A. Carol (1995). Healing Imagery and Music: Pathways to the Inner Self. Portland, OR: Rudra Press.
  • Clark, E. Michael (1998-1999). “The Bonny Method and Spiritual Development”. Journal of the Association for Music and Imagery 6: 55-62.
  • Crane, Frederick (2003a). “Three 17th –Century Organologists View the Trump”. VIM 11: 62-65
  • Crane, Frederick (2003b). A History of the Trump in Pictures: Europe and America. Mount Pleasant: Iova.
  • Fox, Leonard (1988). The Jew’s Harp: A Comprehensive Anthology. Selected, Edited and Translated by Leonard Fox. Lewisburg. Bucknell Univ. Press. London and Toronto: Associated Univ. Presses.
  • Goldberg, S. Frances (1992). “Images of Emotion: The Role of Emotion in Guided Imagery and Music”. Journal of the Association for Music and Imagery 1: 5-17.
  • Goldberg, S. Frances (1995). “The Bonny Method of Guided Imagery and Music”. The art and science of Music Therapy. Eds. T. Wigram, B. Saperston & R. West. Oxford, UK: Routledge.
  • Goldberg, S. Frances (2002). “A Holographic Field Theory Model of the Bonny Method of Guided Imagery and Music (BMGIM)”. Guided Imagery and Music: The bonny method and beyond. Ed. Kenneth E. Bruscia & Denise E. Grocke. Gilsum, NH, USA: Barcelona.
  • Grof, Stanislav (1985). Beyond the Brain: Birth, Death and Transcendence in Psychotherapy. Albany, NY: State University of New York Press.
  • Grof, Stanislav (1996). “Theoretical and Empirical Foundations of Transpersonal Psychology”. Transpersonal Psychotherapy. Ed. S. Boorstein. Albany, NY: State University of New York Press. 43-64.
  • Ivanov, Semyon (1999). “The Lyrical Poetry of the Music of the ‘Talking’ Khomus”. VIM 8: 81-84.
  • Kasayka, E. Roseann (2002). “A Spiritual Orientation to the Bonny Method: to Walk the Mystical Path with Practical Feet”. Guided Imagery and Music: The Bonny Method and Beyond. Ed. K. E. Bruscia & D.E. Grocke. Gilsum, N. H.: Barcelona Publishers.
  • Keutzer, S. Carolin (1978). “Whatever Turns You On: Triggers to Transcendent Experiences”. Journal of Humanistic Psychology 18 (3): 77-80.
  • Kolltveit, Gjermund (2006). Jew’s Harps in European Archaeology. BAR International series 1500. Oxford: Archeaopress/ The Basingstoke Press.
  • Leo, Tadagawa (2007). “Asian Excavated Jew’s Harps: A Checklist”. Journal of the International Jew’s Harp Society 4: 5-11.
  • Lewis, Kirstie (1998-1999). “The Bonny Method of Guided Imagery and Music: Matrix for Transpersonal Experience”. Journal of the Association for Music and Imagery 6: 63-85.
  • Maack, Carola & Paul Nolan (1999). “The Effects of Guided Imagery and Music Therapy on Reported Change in Normal Adults”. Journal of Music Therapy 36 (1): 39-55.
  • Mandler, George (1984). “Consciousness, Imagery and Emotion – with Special Reference to Autonomic Imagery”. Journal of Mental Imagery 8: 87-94.
  • Maslow, Abraham (1970). Religions, Values, and Peak experiences. New York, NY: Arkana. 59-68.
  • Morgan, D. Anne Elizabeth (2008). Organs and Bodies: The Jew’s Harp and the Anthropology of Musical Instruments. The University of British Columbia, Vancouver.
  • Rouget, Gilbert (1985). Music and Trance. Chicago and London: University of Chicago Press.
  • Scherer, R. Klaus (2000). “Psychological Models of Emotion”. The Neuropsychology of Emotion. Ed. J. Borod. Oxford, UK: Oxford University Press. 137-156.
  • Scotton, Bruce (1996). “Introduction and Definition of Transpersonal Psychiatry”. Textbook of Transpersonal Psychiatry and Psychology. Eds. B. W. Scotton, A. B. Chinen, and J. R. Battista. New York, NY: Basic Books. 3-8.
  • Sheikh, A. Anees (1986). “Eidetic Psychotherapy Techniques”. Anthology of Imagery Techniques. Ed. A. A. Sheikh. Milwaukee, WI: American Imagery Institute. 179-194.
  • Thaut, Michael (1990). “Neuropsychological Processes in Music Therapy”. Music therapy in the Treatment of Adults with Mental Disorders. Ed. R. Unkefer. New York: Schirmer Books.
  • Wright, John (1972). “Another Look into the Organology of the Jew’s Harp”. Brussels Museum of Musical Instruments Bulletin 2: 51-59.
  • Wright, Michael (2005). “Trump Manufacture in the West Midlands”. Journal of the International Jew’s Harp Society 3: 5-14.

Ağız Komuzu’nun Kültürel Kimliğin Sembolü Olarak Amerikan ve Kırgız Kültürüne Olan Etkisi

Yıl 2017, Sayı: 80, 317 - 338, 01.02.2017

Öz

Çalışmamda yüzyıllardır üfleme tekniğiyle çalınan Ağız Komuzu’nun geçmiş geleneklerden, birikimlerden güçlenerek günümüze kadar ulaşabilen ezgilerinin Amerikalılara ve Kırgızlara dinletildiğinde yarattığı güçlü etki ortaya konulmaktadır. BMGIM İmgelem ve Müziğin Bonny Yöntemi Ağız Komuzu ezgilerinin dinleyici üzerindeki belirgin etkilerinin kanıtlarıyla ortaya çıkarılması için seçilen yöntemdir. Araştırmaya Amerikan ve Kırgız kültüründen temsilciler katılmış, ağız komuzundan açığa çıkan ezgilerin etkileri gözlem, görüşme, müzik oturumları kapsamında incelenerek bağımlı-bağımsız değişkenler oluşturulmuştur. Bağımsız değişkenin ağız komuzu ezgilerinin katılımcının zihninde çağrışım yaratarak bıraktıkları ezgilerin açığa çıkmasıyla oluşan bağımlı değişkenlerin zihin, duygusal his, çağrıştırma imgeleriyle nasıl etkileştiği açıklanmaya çalışılmıştır. Çalışmada temsilcilere ezgiler canlı, banttan dinletildiğinde ezgilerin bireylerin üzerinde rahatlama, hatırlatma, serbest çağrışım, hikâye anlatıcılığı imgelemi gibi eylemlerle çağrışımsal etkisi açığa çıkmıştır. Sonuç olarak; Ağız komuzu’nun, kültürlerin arka planlarındaki tarih, kültür, kişinin kimliği hayal gücüyle yakından ilişkilendirilmekte, temel etki olarak kültürler üzerinde çok güçlü tesirler yaratmakta ve yaratmaya devam etmekte olduğu ve bu etkinin çok güçlü olduğu ortaya çıkmaktadır.

Kaynakça

  • Abrams, Brian (2001). Defining Transpersonal Experiences of Guided Imagery and Music GIM). Doctoral Dissertation. Temple University. Dissertation Abstracts International –A.61 (10), 3817.
  • Abrams, Brian (2002). “Transpersonal Dimensions of the Bonny Method”. Guided Imagery and Music: The Bonny Method and Beyond. Eds. K. E. Bruscia & D.E. Grocke. Gilsum, NH, USA: Barcelona.
  • Achterberg, Jeanne (1985). Imagery in Healing: Shamanism and Modern Medicine. Boston, MA: Shambhala.
  • Aggleton, John & Mortimer Mishkin (1986). “The Amygdala: Gateway to the Emotions”. Emotion: Theory, Research, and Experience: Volume Three – Biological Foundations of Emotions. Eds. R. Plutchik & H. Kellerman.
  • Orlando: Academic Press. 281-299.
  • Alexeyev, Ivan & Spiridon Shishigin (2004). “The Music of the Yakut Traditional Khomuz”. Journal of the International Jew’s Harp Society 1: 88-94.
  • Anderson, Rosemarie (1998). “Introduction”. Transpersonal Research Methods for the Social Sciences. Eds. William Braud and Rosemarie Anderson. Thousand Oaks, CA: Sage. xix- xxxi.
  • Assagioli, Roberto (1965). Psychosynthesis: A Manual of Principles and Techniques. New York, NY: Hobbs, Dormann & Co. 237-266.
  • Bakx, Phons (1998). “The Jew’s Harp and the Hindu God Shiva: Into the Symbolism of Procreation”. The Thoughts’ Dispeller Booklet Series 1. Middleburg: Stichting/ Foundation Antropodium.
  • Bonny, L. Helen & N. Walter Pahnke (1972). “The Use of Music in Psychedelic (LSD) Psychotherapy”. Journal of Music Therapy 9 (2): 64-87.
  • Bonny, L. Helen & Roy Tansill (2002). “Music Therapy: A legal High”. Music and Consciousness: The Evolution of Guided Imagery and Music. Ed. L. Summer. Gilsum, NH: Barcelona Publishers. 185-204.
  • Bonny, L. Helen (2002). Music Consciousness: The evolution of Guided Imagery and Music. Ed. Lisa Summer. Gilsum, N.H: Barcelona Publishers. 404.
  • Bruscia, E. Kenneth (2012). Case Examples of Music Therapy for Self-Development. Gilsum, NH, USA: Barselona Publishers.
  • Buell, Rebecca (1999). “Emerging Through Music: A Journey Toward Wholeness with Guided Imagery and Music”. Inside Music Therapy: Client Experiences. Ed. J. Hibben Gilsum, NH: Barcelona Publishers. 45-51.
  • Bush, A. Carol (1995). Healing Imagery and Music: Pathways to the Inner Self. Portland, OR: Rudra Press.
  • Clark, E. Michael (1998-1999). “The Bonny Method and Spiritual Development”. Journal of the Association for Music and Imagery 6: 55-62.
  • Crane, Frederick (2003a). “Three 17th –Century Organologists View the Trump”. VIM 11: 62-65
  • Crane, Frederick (2003b). A History of the Trump in Pictures: Europe and America. Mount Pleasant: Iova.
  • Fox, Leonard (1988). The Jew’s Harp: A Comprehensive Anthology. Selected, Edited and Translated by Leonard Fox. Lewisburg. Bucknell Univ. Press. London and Toronto: Associated Univ. Presses.
  • Goldberg, S. Frances (1992). “Images of Emotion: The Role of Emotion in Guided Imagery and Music”. Journal of the Association for Music and Imagery 1: 5-17.
  • Goldberg, S. Frances (1995). “The Bonny Method of Guided Imagery and Music”. The art and science of Music Therapy. Eds. T. Wigram, B. Saperston & R. West. Oxford, UK: Routledge.
  • Goldberg, S. Frances (2002). “A Holographic Field Theory Model of the Bonny Method of Guided Imagery and Music (BMGIM)”. Guided Imagery and Music: The bonny method and beyond. Ed. Kenneth E. Bruscia & Denise E. Grocke. Gilsum, NH, USA: Barcelona.
  • Grof, Stanislav (1985). Beyond the Brain: Birth, Death and Transcendence in Psychotherapy. Albany, NY: State University of New York Press.
  • Grof, Stanislav (1996). “Theoretical and Empirical Foundations of Transpersonal Psychology”. Transpersonal Psychotherapy. Ed. S. Boorstein. Albany, NY: State University of New York Press. 43-64.
  • Ivanov, Semyon (1999). “The Lyrical Poetry of the Music of the ‘Talking’ Khomus”. VIM 8: 81-84.
  • Kasayka, E. Roseann (2002). “A Spiritual Orientation to the Bonny Method: to Walk the Mystical Path with Practical Feet”. Guided Imagery and Music: The Bonny Method and Beyond. Ed. K. E. Bruscia & D.E. Grocke. Gilsum, N. H.: Barcelona Publishers.
  • Keutzer, S. Carolin (1978). “Whatever Turns You On: Triggers to Transcendent Experiences”. Journal of Humanistic Psychology 18 (3): 77-80.
  • Kolltveit, Gjermund (2006). Jew’s Harps in European Archaeology. BAR International series 1500. Oxford: Archeaopress/ The Basingstoke Press.
  • Leo, Tadagawa (2007). “Asian Excavated Jew’s Harps: A Checklist”. Journal of the International Jew’s Harp Society 4: 5-11.
  • Lewis, Kirstie (1998-1999). “The Bonny Method of Guided Imagery and Music: Matrix for Transpersonal Experience”. Journal of the Association for Music and Imagery 6: 63-85.
  • Maack, Carola & Paul Nolan (1999). “The Effects of Guided Imagery and Music Therapy on Reported Change in Normal Adults”. Journal of Music Therapy 36 (1): 39-55.
  • Mandler, George (1984). “Consciousness, Imagery and Emotion – with Special Reference to Autonomic Imagery”. Journal of Mental Imagery 8: 87-94.
  • Maslow, Abraham (1970). Religions, Values, and Peak experiences. New York, NY: Arkana. 59-68.
  • Morgan, D. Anne Elizabeth (2008). Organs and Bodies: The Jew’s Harp and the Anthropology of Musical Instruments. The University of British Columbia, Vancouver.
  • Rouget, Gilbert (1985). Music and Trance. Chicago and London: University of Chicago Press.
  • Scherer, R. Klaus (2000). “Psychological Models of Emotion”. The Neuropsychology of Emotion. Ed. J. Borod. Oxford, UK: Oxford University Press. 137-156.
  • Scotton, Bruce (1996). “Introduction and Definition of Transpersonal Psychiatry”. Textbook of Transpersonal Psychiatry and Psychology. Eds. B. W. Scotton, A. B. Chinen, and J. R. Battista. New York, NY: Basic Books. 3-8.
  • Sheikh, A. Anees (1986). “Eidetic Psychotherapy Techniques”. Anthology of Imagery Techniques. Ed. A. A. Sheikh. Milwaukee, WI: American Imagery Institute. 179-194.
  • Thaut, Michael (1990). “Neuropsychological Processes in Music Therapy”. Music therapy in the Treatment of Adults with Mental Disorders. Ed. R. Unkefer. New York: Schirmer Books.
  • Wright, John (1972). “Another Look into the Organology of the Jew’s Harp”. Brussels Museum of Musical Instruments Bulletin 2: 51-59.
  • Wright, Michael (2005). “Trump Manufacture in the West Midlands”. Journal of the International Jew’s Harp Society 3: 5-14.
Toplam 41 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Research Article
Yazarlar

Aida Kasieva

Yayımlanma Tarihi 1 Şubat 2017
Yayımlandığı Sayı Yıl 2017 Sayı: 80

Kaynak Göster

APA Kasieva, A. (2017). The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity. Bilig(80), 317-338.
AMA Kasieva A. The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity. Bilig. Şubat 2017;(80):317-338.
Chicago Kasieva, Aida. “The Jew’s Harp Music Impact on American and Kyrgyz As Representation of Their Cultural Identity”. Bilig, sy. 80 (Şubat 2017): 317-38.
EndNote Kasieva A (01 Şubat 2017) The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity. Bilig 80 317–338.
IEEE A. Kasieva, “The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity”, Bilig, sy. 80, ss. 317–338, Şubat 2017.
ISNAD Kasieva, Aida. “The Jew’s Harp Music Impact on American and Kyrgyz As Representation of Their Cultural Identity”. Bilig 80 (Şubat 2017), 317-338.
JAMA Kasieva A. The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity. Bilig. 2017;:317–338.
MLA Kasieva, Aida. “The Jew’s Harp Music Impact on American and Kyrgyz As Representation of Their Cultural Identity”. Bilig, sy. 80, 2017, ss. 317-38.
Vancouver Kasieva A. The Jew’s Harp Music Impact on American and Kyrgyz as Representation of their Cultural Identity. Bilig. 2017(80):317-38.

Ahmet Yesevi Üniversitesi Mütevelli Heyet Başkanlığı