Araştırma Makalesi
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Yıl 2024, Cilt: 2 Sayı: 2, 115 - 126, 31.12.2024

Alper Şakalar

Öz

This study examines the impact of globalization on traditional music within a theoretical framework, focusing on how these effects influence the processes of preserving and reconstructing traditional music. Traditional music is a significant heritage that reflects the cultural identities and social values of societies, and the process of globalization poses various effects that both threaten and support the sustainability of this heritage. The cultural homogenization pressure exerted by globalization on local cultural elements creates risks that may lead to the loss of the unique identities of traditional music. However, the advancement of digitalization and modern communication technologies offers significant opportunities for these musical traditions to reach wider audiences. The study employs conceptual approaches such as cultural homogenization, hybridization, and glocalization to analyze how traditional music integrates into global cultural flows and undergoes reconstruction in this process. These theoretical approaches provide important insights for developing balanced strategies in the preservation and reconstruction of traditional music. The research suggests the implementation of digital archiving, cultural education programs, promotion of local festivals, and efforts to increase the interest of younger generations in traditional music. Additionally, it emphasizes that traditional music should be reconstructed in a manner compatible with modern musical styles while maintaining its authentic identity during the hybridization process. In this context, the findings highlight the necessity of developing strategic approaches that ensure the sustainability of traditional music by both preserving its authenticity and adapting to changes in the modern world during the globalization process.

Anahtar Kelimeler

Traditional Music Globalization Cultural Homogenization Hybridization Glocalization

Kaynakça

  • Appert, C. (2016). On hybridity in african popular music: The case of senegalese hip hop. Ethnomusicology, 60, 279.
  • Arenal, A., Armuña, C., Ramos, S., Feijoo, C. ve Aguado, J.-M. (2022). Giants with feet of clay: the sustainability of the business models in music streaming services. Profesional De La información, 31(5), 1-18.
  • Banzon, G. ve Leonard, H. (2023). Genre-bending: A discourse on globalization and culture with implications for music therapy. Music Therapy Perspectives, 41(2), 187–200.
  • Boeije, H. (2002). A purposeful approach to the constant comparative method in the analysis of qualitative ınterviews. Quality and Quantity, 36, 391-409.
  • Bourreau, M., Moreau, F. ve Wikström, P. (2022). Does digitization lead to the homogenization of cultural content? Economic Inquiry, 60(1), 427-453.
  • Chan, C. (2018). Sustainability of indigenous folk tales, music, and cultural heritage through innovation. Journal of Cultural Heritage Management and Sustainable Development, 8(3), 342-361.
  • Chiang, T. ve Zhou, Q. (2019). Can cultural localization protect national identity in the era of globalization?. Educational Philosophy and Theory, 51, 541-545.
  • D’Agostino, M. (2020). Reclaiming and preserving traditional music: Aesthetics, ethics and technology. Organised Sound, 25, 106-115.
  • Davismoon, S. (2016). Introduction: Hybridity of practice and aesthetics between electronic dance and electroacoustic musics. Contemporary Music Review, 35(2), 122-124.
  • Dzebisashvili, M. (2021). The impact of globalization on economic growth. Economics, 104(10-12), 99-107.
  • Folorunso, C. (2021). Globalization, cultural heritage management and the sustainable development goals in Sub-Saharan Africa: The case of Nigeria. Heritage, 4(3), 1703-1715.
  • Furlong, D. ve Lester, J. (2022). Toward a Practice of qualitative methodological literature reviewing. Qualitative Inquiry, 29, 669-677.
  • Hebert, D. G. (2018). Cultural translation and musical innovation: A theoretical model with examples from Japan. International Perspectives on Translation, Education and Innovation in Japanese and Korean Societies, D. G. Hebert (Ed.), 309-331.
  • Jaffe, D. (2016). Orchestrating the chimera: Musical hybrids, technology and the development of a “maximalist” musical style. Leonardo Music Journal, 5, 11-18.
  • Katimertzopoulos, F., Vlados, C. ve Koutroukis, T. (2023). Business and regional innovation culture: an overview of the conceptualization of innovation culture. Administrative Sciences, 13(11), 237.
  • Kaztuganova, A. (2021). Preservation and popularization of traditional musicin the era of globalization. Keruen, 2(71), https://keruenjournal.kz/main/article/view/21.
  • Küçük, E. ve Erten Bilgiç, D. (2022). Küyerelleşme kavramı kapsamında, kültürün iç mekân tasarımına etkisinin zincir otellerin lobi tasarımları üzerinden irdelenmesi, Marriott Otel örneği. Journal of Architectural Sciences and Applications, 7(1), 317-345.
  • Kwan, L., Leung, A. ve Liou, S. (2018). Culture, creativity, and innovation. Journal of Cross-Cultural Psychology, 49, 165-170.
  • Lal, A., Hesmondhalgh, D. ve Umney, C. (2023). The changing shape of the Indian recorded music industry in the age of platformisation. Contemporary South Asia, 31, 291-310.
  • Leung, B.W. (2018). Traditional musics in the modern world. Traditional Musics in the Modern World: Transmission, Evolution, and Challenges; Landscapes: the Arts, Aesthetics, and Education, 24, 1-9.
  • Liu, J. (2023). Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes. Aspects of Historical Musicology.
  • Mackay, G. (2007). Is there a need to differentiate between qualitative and quantitative searching strategies for literature reviewing?. Qualitative Social Work, 6, 231-241.
  • Magu, S. (2015). Reconceptualizing cultural globalization: Connecting the "cultural global" and the "cultural local". The Social Sciences, 4, 630-645.
  • Melnik, A. ve Vakulik, K. (2021). The impact of technological change on world economic growth. Scientific opinion: Economics and Management, 75(2), 13-17.
  • Mokgachane, T., Basupi, B. ve Lenao, M. (2019). Implications of cultural commodification on the authenticity of iKalanga music: A case of Domboshaba traditional music festival in Botswana. Journal of Tourism and Cultural Change, 19, 153-165.
  • Oduro-Frimpong, J. (2009). Glocalization trends: The case of Hiplife music in contemporary Ghana. International Journal of Communication, 3, 1085–1106.
  • Peterson, R. ve Maggio, P. (1975). From region to class, the changing locus of country music: A test of the massification hypothesis. Social Forces, 53, 497-506.
  • Pozzo, R., Filippetti, A., Paolucci, M. ve Virgili, V. (2020). What does cultural innovation stand for? Dimensions, processes, outcomes of a new innovation category. Science and Public Policy, 47, 425-433.
  • Sen, A. (2010). Music in the digital age: Musicians and fans around the world “come together” on the net. Global Media Journal, 9(16). https://www.globalmediajournal.com/open-access/music-in-the-digital-age-musicians-and-fans-around-the-world-come-together-on-the-net.php?aid=35258
  • Simonett, H. (2011). Giving voice to the ‘dignified man’: Reflections on global popular music. Popular Music, 30, 227-244.
  • Sverbilova, T. H. (2019). The interdisciplinary aspect of the studies of transculturation and hybridization in comparative culture discourse. The Journal of V. N. Karazin Kharkiv National University, Series “Philology”, 82, 83-92.
  • Tepper, S. ve Hargittai, E. (2009). Pathways to music exploration in a digital Aage. Poetics, 37, 227-249.
  • Vatan, M. (2021). Culture and identity in the global context: transformation of locality. Girginkaya Akdağ, S., Dinçer, M., Vatan, M., Topçu, Ü., Maro Kırış, İ. (eds) The Dialectics of Urban and Architectural Boundaries in the Middle East and the Mediterranean. The Urban Book Series. Springer, Cham, p.119–133.
  • Vaughan, M. (2016). Register, dialect, convolution, and ‘crosstalk’: Reflections on ‘ … the zones of ınfluence and hybridity between electroacoustic, acousmatique music, techno, and idm’. Contemporary Music Review, 35, 166-183.
  • Wang, G. ve Yeh, E. (2005). Globalization and hybridization in cultural products. International Journal of Cultural Studies, 8, 175-193.
  • Wani, H. (2011). Impact of globalization on world culture. Research Journal of Humanities and Social Sciences, 2, 1-4.
  • Wenting, K. (2020). Analysis of the influence of digital media technology on music communication. Journal of Physics: Conference Series, 1453, 1-5.
  • Wong, J. Y. W. (2020). Chinese musical culture in the global context – Modernization and internationalization of traditional Chinese music in the twenty-first century., Chinese culture in the 21st century and its global dimensions, 2, 105-122. Springer.
  • Young, F. (1981). Quantitative analysis of qualitative data. Psychometrika, 46, 357-388.
  • Yun, J., Zhao, X., Jung, K. ve Yigitcanlar, T. (2020). The culture for open innovation dynamics. Sustainability, 12(12), 5076.

KÜRESELLEŞME ÇAĞINDA GELENEKSEL MÜZİKLERİN KORUNMASI VE YENİDEN İNŞASI ÜZERİNE KURAMSAL BİR DEĞERLENDİRME

Yıl 2024, Cilt: 2 Sayı: 2, 115 - 126, 31.12.2024

Alper Şakalar

Öz

Bu araştırma, küreselleşmenin geleneksel müzikler üzerindeki etkilerini kuramsal bir çerçevede ele alarak, bu etkilerin müziklerin korunması ve yeniden inşası süreçlerine nasıl yansıdığını incelemektedir. Geleneksel müzikler, toplumların kültürel kimliklerini ve sosyal değerlerini yansıtan önemli birer miras olup, küreselleşme süreci bu mirasların sürdürülebilirliğini hem tehdit eden hem de destekleyen çeşitli etkilere sahiptir. Küreselleşmenin yerel kültürel unsurlar üzerinde oluşturduğu kültürel homojenleşme baskısı, geleneksel müziklerin özgün kimliklerini kaybetmesine yol açabilecek riskler yaratmaktadır. Bununla birlikte, dijitalleşme ve modern iletişim teknolojilerinin gelişimi, bu müziklerin daha geniş kitlelere ulaşmasını sağlayarak önemli fırsatlar sunmaktadır. Araştırmada kültürel homojenleşme, hibritleşme ve glokalizasyon gibi kavramsal yaklaşımlar kullanılarak, geleneksel müziklerin küresel kültürel akışlara nasıl dahil olduğu ve bu süreçte nasıl yeniden inşa edildiği incelenmiştir. Bu kuramsal yaklaşımlar, geleneksel müziklerin korunması ve yeniden inşası süreçlerinde dengeli stratejiler geliştirilmesine yönelik önemli ipuçları sunmaktadır. Araştırma, geleneksel müziklerin korunması için dijital arşivleme, kültürel eğitim programları, yerel festivallerin teşvik edilmesi ve genç nesillerin geleneksel müziklere olan ilgisini artırmaya yönelik çalışmalar yapılmasını önermektedir. Ayrıca, geleneksel müziklerin modern müzik tarzlarına uygun bir şekilde yeniden inşa edilmesi ve hibritleşme sürecinde özgün kimliklerinin korunması gerektiği vurgulanmaktadır. Bu bağlamda, araştırma sonuçları, geleneksel müziklerin küreselleşme sürecinde hem özgün yapılarını koruyarak hem de modern dünyadaki değişimlere uyum sağlayarak sürdürülebilirliğini sağlayacak stratejik yaklaşımlar geliştirilmesi gerektiğini ortaya koymaktadır.

Anahtar Kelimeler

Geleneksel Müzikler Küreselleşme Kültürel Homojenleşme Hibritleşme Glokalizasyon

Kaynakça

  • Appert, C. (2016). On hybridity in african popular music: The case of senegalese hip hop. Ethnomusicology, 60, 279.
  • Arenal, A., Armuña, C., Ramos, S., Feijoo, C. ve Aguado, J.-M. (2022). Giants with feet of clay: the sustainability of the business models in music streaming services. Profesional De La información, 31(5), 1-18.
  • Banzon, G. ve Leonard, H. (2023). Genre-bending: A discourse on globalization and culture with implications for music therapy. Music Therapy Perspectives, 41(2), 187–200.
  • Boeije, H. (2002). A purposeful approach to the constant comparative method in the analysis of qualitative ınterviews. Quality and Quantity, 36, 391-409.
  • Bourreau, M., Moreau, F. ve Wikström, P. (2022). Does digitization lead to the homogenization of cultural content? Economic Inquiry, 60(1), 427-453.
  • Chan, C. (2018). Sustainability of indigenous folk tales, music, and cultural heritage through innovation. Journal of Cultural Heritage Management and Sustainable Development, 8(3), 342-361.
  • Chiang, T. ve Zhou, Q. (2019). Can cultural localization protect national identity in the era of globalization?. Educational Philosophy and Theory, 51, 541-545.
  • D’Agostino, M. (2020). Reclaiming and preserving traditional music: Aesthetics, ethics and technology. Organised Sound, 25, 106-115.
  • Davismoon, S. (2016). Introduction: Hybridity of practice and aesthetics between electronic dance and electroacoustic musics. Contemporary Music Review, 35(2), 122-124.
  • Dzebisashvili, M. (2021). The impact of globalization on economic growth. Economics, 104(10-12), 99-107.
  • Folorunso, C. (2021). Globalization, cultural heritage management and the sustainable development goals in Sub-Saharan Africa: The case of Nigeria. Heritage, 4(3), 1703-1715.
  • Furlong, D. ve Lester, J. (2022). Toward a Practice of qualitative methodological literature reviewing. Qualitative Inquiry, 29, 669-677.
  • Hebert, D. G. (2018). Cultural translation and musical innovation: A theoretical model with examples from Japan. International Perspectives on Translation, Education and Innovation in Japanese and Korean Societies, D. G. Hebert (Ed.), 309-331.
  • Jaffe, D. (2016). Orchestrating the chimera: Musical hybrids, technology and the development of a “maximalist” musical style. Leonardo Music Journal, 5, 11-18.
  • Katimertzopoulos, F., Vlados, C. ve Koutroukis, T. (2023). Business and regional innovation culture: an overview of the conceptualization of innovation culture. Administrative Sciences, 13(11), 237.
  • Kaztuganova, A. (2021). Preservation and popularization of traditional musicin the era of globalization. Keruen, 2(71), https://keruenjournal.kz/main/article/view/21.
  • Küçük, E. ve Erten Bilgiç, D. (2022). Küyerelleşme kavramı kapsamında, kültürün iç mekân tasarımına etkisinin zincir otellerin lobi tasarımları üzerinden irdelenmesi, Marriott Otel örneği. Journal of Architectural Sciences and Applications, 7(1), 317-345.
  • Kwan, L., Leung, A. ve Liou, S. (2018). Culture, creativity, and innovation. Journal of Cross-Cultural Psychology, 49, 165-170.
  • Lal, A., Hesmondhalgh, D. ve Umney, C. (2023). The changing shape of the Indian recorded music industry in the age of platformisation. Contemporary South Asia, 31, 291-310.
  • Leung, B.W. (2018). Traditional musics in the modern world. Traditional Musics in the Modern World: Transmission, Evolution, and Challenges; Landscapes: the Arts, Aesthetics, and Education, 24, 1-9.
  • Liu, J. (2023). Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes. Aspects of Historical Musicology.
  • Mackay, G. (2007). Is there a need to differentiate between qualitative and quantitative searching strategies for literature reviewing?. Qualitative Social Work, 6, 231-241.
  • Magu, S. (2015). Reconceptualizing cultural globalization: Connecting the "cultural global" and the "cultural local". The Social Sciences, 4, 630-645.
  • Melnik, A. ve Vakulik, K. (2021). The impact of technological change on world economic growth. Scientific opinion: Economics and Management, 75(2), 13-17.
  • Mokgachane, T., Basupi, B. ve Lenao, M. (2019). Implications of cultural commodification on the authenticity of iKalanga music: A case of Domboshaba traditional music festival in Botswana. Journal of Tourism and Cultural Change, 19, 153-165.
  • Oduro-Frimpong, J. (2009). Glocalization trends: The case of Hiplife music in contemporary Ghana. International Journal of Communication, 3, 1085–1106.
  • Peterson, R. ve Maggio, P. (1975). From region to class, the changing locus of country music: A test of the massification hypothesis. Social Forces, 53, 497-506.
  • Pozzo, R., Filippetti, A., Paolucci, M. ve Virgili, V. (2020). What does cultural innovation stand for? Dimensions, processes, outcomes of a new innovation category. Science and Public Policy, 47, 425-433.
  • Sen, A. (2010). Music in the digital age: Musicians and fans around the world “come together” on the net. Global Media Journal, 9(16). https://www.globalmediajournal.com/open-access/music-in-the-digital-age-musicians-and-fans-around-the-world-come-together-on-the-net.php?aid=35258
  • Simonett, H. (2011). Giving voice to the ‘dignified man’: Reflections on global popular music. Popular Music, 30, 227-244.
  • Sverbilova, T. H. (2019). The interdisciplinary aspect of the studies of transculturation and hybridization in comparative culture discourse. The Journal of V. N. Karazin Kharkiv National University, Series “Philology”, 82, 83-92.
  • Tepper, S. ve Hargittai, E. (2009). Pathways to music exploration in a digital Aage. Poetics, 37, 227-249.
  • Vatan, M. (2021). Culture and identity in the global context: transformation of locality. Girginkaya Akdağ, S., Dinçer, M., Vatan, M., Topçu, Ü., Maro Kırış, İ. (eds) The Dialectics of Urban and Architectural Boundaries in the Middle East and the Mediterranean. The Urban Book Series. Springer, Cham, p.119–133.
  • Vaughan, M. (2016). Register, dialect, convolution, and ‘crosstalk’: Reflections on ‘ … the zones of ınfluence and hybridity between electroacoustic, acousmatique music, techno, and idm’. Contemporary Music Review, 35, 166-183.
  • Wang, G. ve Yeh, E. (2005). Globalization and hybridization in cultural products. International Journal of Cultural Studies, 8, 175-193.
  • Wani, H. (2011). Impact of globalization on world culture. Research Journal of Humanities and Social Sciences, 2, 1-4.
  • Wenting, K. (2020). Analysis of the influence of digital media technology on music communication. Journal of Physics: Conference Series, 1453, 1-5.
  • Wong, J. Y. W. (2020). Chinese musical culture in the global context – Modernization and internationalization of traditional Chinese music in the twenty-first century., Chinese culture in the 21st century and its global dimensions, 2, 105-122. Springer.
  • Young, F. (1981). Quantitative analysis of qualitative data. Psychometrika, 46, 357-388.
  • Yun, J., Zhao, X., Jung, K. ve Yigitcanlar, T. (2020). The culture for open innovation dynamics. Sustainability, 12(12), 5076.
Toplam 40 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Müzik Sosyolojisi, Müzik Algısı, Müzikoloji ve Etnomüzikoloji
Bölüm Araştırma Makalesi
Yazarlar

Alper Şakalar 0000-0002-0137-9089

Erken Görünüm Tarihi 31 Aralık 2024
Yayımlanma Tarihi 31 Aralık 2024
Gönderilme Tarihi 19 Ağustos 2024
Kabul Tarihi 21 Kasım 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 2 Sayı: 2

Kaynak Göster

APA Şakalar, A. (2024). KÜRESELLEŞME ÇAĞINDA GELENEKSEL MÜZİKLERİN KORUNMASI VE YENİDEN İNŞASI ÜZERİNE KURAMSAL BİR DEĞERLENDİRME. Kahramanmaraş İstiklal Üniversitesi Sosyal Bilimler Dergisi, 2(2), 115-126.
 Kapak Resmi İndir

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