Araştırma Makalesi
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Sosyal Sermaye, İlişkiler ve Müzik Dünyası: Yeni Medyada Ağlar

Yıl 2018, Sayı: 58, 91 - 103, 07.12.2018

Öz

Bu çalışma müzik ve eğlence dünyasındaki ilişkileri sosyal sermaye teorisi ışığ altında ele almıştır. Müzik endüstrisinde müzisyen, şarkıcı, plak şirketi, menejer, radyo programcısı, resmi kurumlar ve sponsorlar gibi çok sayıda aktör işbirliği yapmaktadır. Çok sayıda farklı aktörün birlikte çalıştığı müzik ve medya sektöründe, ilişkiler nasıl gelişir? Özellikle bu çalışma, müzisyen, endüstri ve dinleyici arasındaki ilişkiyi ortaya koymayı amaçlar. Bunu yaparken yeni medya dönemindeki değişiklikler, sosyal sermaye ilkelerine göre yeniden yorumlanmıştır. 

50’ye yakın sanatçı ve müzik- medya endüstrisi çalışanı ile görüşmeler yapılmıştır. 200 dinleyiciyle yeni medya kullanım alışkanlıklarını anlamak için anket yapılmıştır. Ayrıca dinleyicilerin bir kısmı ile yapılandırılmamış röportaj gerçekleştirilmiştir, sosyal medya sitelerinde kullanıcı hesapları oluşturularak katılımcı gözlem sağlanmıştır. Çalışmada sosyal sermaye normlarından güven, karşılıklılık ve sosyalleşmenin müzik dünyasındaki rolü ve önemi incelenmiştir. Sosyal sermayenin müzik dünyasındaki sosyolojik ve ekonomik etkisi örnekler aracılığıyla açıklanmıştır. Yeni medyanın bu aktörlerin arasındaki ilişkileri nasıl değiştirdiği sorgulanmıştır.


Kaynakça

  • Ağcasulu, H. (2017). Sosyal sermaye kavramı ve temel bakış açılarının karşılaştırılması [Social capital concept and the comparison of fundamental perspectives]. Suleyman Demirel University Visionary Journal, 8(17), 114–129.
  • Anttiroiko, A. V. (2015). Networks in Manuel Castells’ theory of the network society. Retrieved from https://mpra.ub.uni-muenchen.de/65617/1/MPRA_paper_65617.pdf
  • Attali, J. (2009). Noise: The political economy of music. Minneapolis, MN: University of Minnosata Press.
  • Becker, G. (1984). Human capital: A theoretical and empirical analysis. London, UK: The University of Chicago Press.
  • Becker, H. (1982). Art worlds. Berkeley, CA: University of California Press.
  • Baudrillard, J. (1998). The consumer society: Myths and structures. London, UK: Sage.
  • Burt, R. (2000). The network structure of social capital. Research in Organisational Behaviour, 22(1), 345–423.
  • Castells, M. (1998). The information age: Economy, society and culture, the rise of network society. Hoboken, NJ: Blackwell Publishing.
  • Celma, O. (2010). Music recommendation and discovery. London, UK: Springer.
  • Coleman, J. S. (1988). Social capital in the creation of human capital. American Journal of Sociology, 94, 95–120.
  • Coleman, J. S. (1990). Foundations of Social Theory. Cambridge, MA: Harvard University Press.
  • Döğerlioğlu, O. (2005). Sosyal ağlar ve örgütsel başarı: Yerleşiklilik teorisi [Social networks and organisational success: Embeddedness theory]. İktisat, İşletme ve Finans, 20, 36- 41.
  • Field, J. (2008). Sosyal sermaye [Social capital] (B. Bilgen, Trans.). İstanbul, Turkey: İstanbul Bilgi Üniversitesi Yayınları.
  • Fukuyama, F. (1995). Trust: The social virtues and the creation of prosperity. New York, NY: Free Press Paperback.
  • Granovetter, M. S. (1973). The strength of weak ties. American Journal of Sociology, 78(6), 1360–1380.
  • Granovetter, M. S. (1985). Economic action and social structure: the problem of embeddedness. American Journal of Sociology, 91(3), 481–510.
  • Hesmondhalgh, D., & Meier L. M. (2017). What the digitalisation of music tells us about capitalism, culture and the power of the information technology sector. Information, Communication & Society, 21(11), 1555–1570.
  • The International Federation of the Phonographic Industry. (2008). Digital music report: Revolution, innovation, responsibility. Retrieved from http://www.ifpi.org/content/library/DMR2008.pdf
  • The International Federation of the Phonographic Industry. (2009). Digital music report: New business models for a changing environment. Retrieved from http://www.ifpi.org/content/library/DMR2009.pdf
  • The International Federation of the Phonographic Industry. (2010). Digital music report: Music how, when, where you want it. Retrieved from http://www.ifpi.org/content/library/DMR2010.pdf
  • The International Federation of the Phonographic Industry. (2011). Digital music report: Music at the touch of a button. Retrieved from http://www.ifpi.org/content/library/DMR2011.pdf
  • The International Federation of the Phonographic Industry. (2012). Digital music report: key facts and figures. Retrieved from http://www.ifpi.org/content/library/DMR2012_key_facts_and_figures.pdf
  • The International Federation of the Phonographic Industry. (2013). Digital music report: Engine of a digital world. Retrieved from http://www.ifpi.org/downloads/dmr2013-full-report_english.pdf
  • The International Federation of the Phonographic Industry. (2014). Digital music report: Lighting up new markets. Retrieved from http://www.ifpi.org/downloads/Digital-Music-Report-2014.pdf
  • The International Federation of the Phonographic Industry. (2015). Digital music report: Charting the path to sustainable growth. Retrieved from http://www.ifpi.org/downloads/Digital-Music-Report-2015.pdf
  • The International Federation of the Phonographic Industry. (2016). Digital music report: Music consumption exploding worldwide. Retrieved from http://www.ifpi.org/downloads/GMR2016.pdf
  • Lin, N. (2001). Social capital: A theory of social structure and action. New York, NY: Cambridge University Press.
  • Lull, J. (1992). Popüler müzik ve iletişim [Popular music and communication] (T. Iblag, Trans.). İstanbul, Turkey: Çivi Yazıları.
  • Marshall, L. K. R. (2015). Let’s keep music special. F Spotify: on- demand streaming and the controversy over artist royalties. Creative Industries Journal, 8(2), 177–189.
  • Negus, K. (1992). Producing pop: Culture and conflict in the popular music industry. London, UK: Hodder Education.
  • Ozturk, T. A. (2015). Adaptation strategies of musicians between the audience expectations and culture industry in terms of new media. (Doctoral dissertation). Available from Council of Higher Education Thesis Center.
  • Putnam, R. D. (1995). Bowling alone: America’s declining social capital. Journal of Democracy, 6(1), 65–78.
  • Putnam, R. D. (2000). Bowling alone: The collapse and revival of American community. New York, NY: Simon and Schuster.
  • Sandvoss, C. (2005). Fans: The mirror of consumption. Cambridge, UK: Polity.
  • Schultz, T. W. (1961). Investment in human capital. The American Economic Review, 51(1), 1–17.
  • Sennett, R. (1997). Kamusal insanın çöküşü [The gall of public man] (A. Yılmaz & S. Durak, Trans.). İstanbul, Turkey: Ayrıntı Yayınları.
  • Senneth, R. (2007). The culture of the new capitalism. New Haven, CT: Yale University Press.

Social Capital, Relations and Music World: Networks in New Media

Yıl 2018, Sayı: 58, 91 - 103, 07.12.2018

Öz

This study examines the relations between the music and entertainment world by considering the social capital theory. A great number of actors such as musicians, singers, record labels, managers, radio programmers, formal institutions, and sponsors, collaborate with each other in the music business. How do relations develop in music and media sectors, in which many different actors are involved? This paper specifically aims to present the form of relations between musician, audience and industry. In doing so, changes in the new media era have been reinterpreted.

Approximately 50 artists, employers, and employees of music and media industries have been interviewed. 200 followers were surveyed to understand their usage of social media. Some of the audiences have been interviewed and participant observation has been made on social networking websites. The role and importance of trust, reciprocity, and socialization, as norms of social capital, has been indicated. The effects of social capital on the music world has been explained via examples in terms of sociological and economic aspects. How has new media changed the relations between these actors?

Kaynakça

  • Ağcasulu, H. (2017). Sosyal sermaye kavramı ve temel bakış açılarının karşılaştırılması [Social capital concept and the comparison of fundamental perspectives]. Suleyman Demirel University Visionary Journal, 8(17), 114–129.
  • Anttiroiko, A. V. (2015). Networks in Manuel Castells’ theory of the network society. Retrieved from https://mpra.ub.uni-muenchen.de/65617/1/MPRA_paper_65617.pdf
  • Attali, J. (2009). Noise: The political economy of music. Minneapolis, MN: University of Minnosata Press.
  • Becker, G. (1984). Human capital: A theoretical and empirical analysis. London, UK: The University of Chicago Press.
  • Becker, H. (1982). Art worlds. Berkeley, CA: University of California Press.
  • Baudrillard, J. (1998). The consumer society: Myths and structures. London, UK: Sage.
  • Burt, R. (2000). The network structure of social capital. Research in Organisational Behaviour, 22(1), 345–423.
  • Castells, M. (1998). The information age: Economy, society and culture, the rise of network society. Hoboken, NJ: Blackwell Publishing.
  • Celma, O. (2010). Music recommendation and discovery. London, UK: Springer.
  • Coleman, J. S. (1988). Social capital in the creation of human capital. American Journal of Sociology, 94, 95–120.
  • Coleman, J. S. (1990). Foundations of Social Theory. Cambridge, MA: Harvard University Press.
  • Döğerlioğlu, O. (2005). Sosyal ağlar ve örgütsel başarı: Yerleşiklilik teorisi [Social networks and organisational success: Embeddedness theory]. İktisat, İşletme ve Finans, 20, 36- 41.
  • Field, J. (2008). Sosyal sermaye [Social capital] (B. Bilgen, Trans.). İstanbul, Turkey: İstanbul Bilgi Üniversitesi Yayınları.
  • Fukuyama, F. (1995). Trust: The social virtues and the creation of prosperity. New York, NY: Free Press Paperback.
  • Granovetter, M. S. (1973). The strength of weak ties. American Journal of Sociology, 78(6), 1360–1380.
  • Granovetter, M. S. (1985). Economic action and social structure: the problem of embeddedness. American Journal of Sociology, 91(3), 481–510.
  • Hesmondhalgh, D., & Meier L. M. (2017). What the digitalisation of music tells us about capitalism, culture and the power of the information technology sector. Information, Communication & Society, 21(11), 1555–1570.
  • The International Federation of the Phonographic Industry. (2008). Digital music report: Revolution, innovation, responsibility. Retrieved from http://www.ifpi.org/content/library/DMR2008.pdf
  • The International Federation of the Phonographic Industry. (2009). Digital music report: New business models for a changing environment. Retrieved from http://www.ifpi.org/content/library/DMR2009.pdf
  • The International Federation of the Phonographic Industry. (2010). Digital music report: Music how, when, where you want it. Retrieved from http://www.ifpi.org/content/library/DMR2010.pdf
  • The International Federation of the Phonographic Industry. (2011). Digital music report: Music at the touch of a button. Retrieved from http://www.ifpi.org/content/library/DMR2011.pdf
  • The International Federation of the Phonographic Industry. (2012). Digital music report: key facts and figures. Retrieved from http://www.ifpi.org/content/library/DMR2012_key_facts_and_figures.pdf
  • The International Federation of the Phonographic Industry. (2013). Digital music report: Engine of a digital world. Retrieved from http://www.ifpi.org/downloads/dmr2013-full-report_english.pdf
  • The International Federation of the Phonographic Industry. (2014). Digital music report: Lighting up new markets. Retrieved from http://www.ifpi.org/downloads/Digital-Music-Report-2014.pdf
  • The International Federation of the Phonographic Industry. (2015). Digital music report: Charting the path to sustainable growth. Retrieved from http://www.ifpi.org/downloads/Digital-Music-Report-2015.pdf
  • The International Federation of the Phonographic Industry. (2016). Digital music report: Music consumption exploding worldwide. Retrieved from http://www.ifpi.org/downloads/GMR2016.pdf
  • Lin, N. (2001). Social capital: A theory of social structure and action. New York, NY: Cambridge University Press.
  • Lull, J. (1992). Popüler müzik ve iletişim [Popular music and communication] (T. Iblag, Trans.). İstanbul, Turkey: Çivi Yazıları.
  • Marshall, L. K. R. (2015). Let’s keep music special. F Spotify: on- demand streaming and the controversy over artist royalties. Creative Industries Journal, 8(2), 177–189.
  • Negus, K. (1992). Producing pop: Culture and conflict in the popular music industry. London, UK: Hodder Education.
  • Ozturk, T. A. (2015). Adaptation strategies of musicians between the audience expectations and culture industry in terms of new media. (Doctoral dissertation). Available from Council of Higher Education Thesis Center.
  • Putnam, R. D. (1995). Bowling alone: America’s declining social capital. Journal of Democracy, 6(1), 65–78.
  • Putnam, R. D. (2000). Bowling alone: The collapse and revival of American community. New York, NY: Simon and Schuster.
  • Sandvoss, C. (2005). Fans: The mirror of consumption. Cambridge, UK: Polity.
  • Schultz, T. W. (1961). Investment in human capital. The American Economic Review, 51(1), 1–17.
  • Sennett, R. (1997). Kamusal insanın çöküşü [The gall of public man] (A. Yılmaz & S. Durak, Trans.). İstanbul, Turkey: Ayrıntı Yayınları.
  • Senneth, R. (2007). The culture of the new capitalism. New Haven, CT: Yale University Press.
Toplam 37 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Sosyoloji
Bölüm Araştırma Makaleleri
Yazarlar

Tugba Aydın Ozturk 0000-0002-7072-5213

Yayımlanma Tarihi 7 Aralık 2018
Gönderilme Tarihi 12 Haziran 2018
Yayımlandığı Sayı Yıl 2018 Sayı: 58

Kaynak Göster

APA Aydın Ozturk, T. (2018). Social Capital, Relations and Music World: Networks in New Media. Journal of Economy Culture and Society(58), 91-103.
AMA Aydın Ozturk T. Social Capital, Relations and Music World: Networks in New Media. Journal of Economy Culture and Society. Aralık 2018;(58):91-103.
Chicago Aydın Ozturk, Tugba. “Social Capital, Relations and Music World: Networks in New Media”. Journal of Economy Culture and Society, sy. 58 (Aralık 2018): 91-103.
EndNote Aydın Ozturk T (01 Aralık 2018) Social Capital, Relations and Music World: Networks in New Media. Journal of Economy Culture and Society 58 91–103.
IEEE T. Aydın Ozturk, “Social Capital, Relations and Music World: Networks in New Media”, Journal of Economy Culture and Society, sy. 58, ss. 91–103, Aralık 2018.
ISNAD Aydın Ozturk, Tugba. “Social Capital, Relations and Music World: Networks in New Media”. Journal of Economy Culture and Society 58 (Aralık 2018), 91-103.
JAMA Aydın Ozturk T. Social Capital, Relations and Music World: Networks in New Media. Journal of Economy Culture and Society. 2018;:91–103.
MLA Aydın Ozturk, Tugba. “Social Capital, Relations and Music World: Networks in New Media”. Journal of Economy Culture and Society, sy. 58, 2018, ss. 91-103.
Vancouver Aydın Ozturk T. Social Capital, Relations and Music World: Networks in New Media. Journal of Economy Culture and Society. 2018(58):91-103.