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DİJİTAL ETNOGRAFİ PERSPEKTİFİNDEN TİKTOK’TA MÜZİĞİN KULLANIMI VE PERFORMANS PRATİKLERİ

Yıl 2021, Cilt: 14 Sayı: 36, 1317 - 1332, 17.12.2021
https://doi.org/10.12981/mahder.1013893

Öz

: TikTok, kullanıcılarının her türden videolar oluşturmasına, paylaşmasına ve izlemesine olanak tanıyan, günümüzün müzik tabanlı sosyal medya uygulamalarından biridir. TikTok gibi dijital platformlar kültürel üretim ve dağıtım sistemleri, üreticiler ve tüketiciler arasındaki ayrımların da giderek azalmasını sağlayarak, geçmişte sadece izleyici konumunda olan insanların kolay bir şekilde yaratıcı içerikler üretmesine ve paylaşmasına olanak tanımaktadır. Eş zamanlı bir küresel iletişim platformu olan TikTok’ta kullanılan bir dizi hashtag, kolektif kimlik, üyeler arasında bir aidiyet duygusu oluşturmakta ve muhtemelen bu topluluklara ilgi çekmektedir. TikTok’ta, ortak ilgi alanlarına ve zevklere sahip bireyler, ortak hashtag’lar ve kaynaklar etrafında bir araya gelerek uygulamanın etkinliğinin artmasına hız kazandırmaktadır. Performans ve her türlü dinleme sürecinin de içeren müzikal davranış, benlik ve öteki ya da birey ile topluluk arasındaki ilişkilerin yönetildiği ve etkileşimleri kolaylaştıran esnek bir araçtır. Müzik ve ses, kısa video uygulaması olan TikTok'un küresel dili olarak, insanların yaratıcılığında ve kültürel etkileşiminde önemli bir rol oynamaktadır. TikTok'ta, benliğin sunumu ve içerik oluşturma pratikleri büyük ölçüde kısa müzik veya ses parçacıklarıyla performans sergilemekle bağlantılıdır. Bu makale, popüler video paylaşım uygulaması TikTok’un algoritmik bir kültürde ‘müziği’ ve ‘ses’i araçsallaştırarak elde ettiği etkiyi, yaratıcı süreçlerin dönüşümlerini ve kültürel etkilerini dijital etnografi perspektifinden incelemeyi amaçlamaktadır. Çalışmada ihtiyaç duyulan verilere ulaşmak amacıyla TikTok uygulamasından faydalanılmış, uygulamanın sunduğu işlevsel özellikler, içerik üretiminin süreçleri ve kullanıcılar tarafından oluşturulmuş olan performans videoları betimsel bir yöntemle ele alınmıştır.

Kaynakça

  • Anderson, K. E. (2020). Getting acquainted with social networks and apps: it is time to talk about TikTok. Library Hi Tech News. Vol. 37 No. 4, pp. 7-12.
  • Alexander, J. (2019). Your guide to using Tiktok, beyond the app’s ‘for you’ page. theverge.com, Apr 2, 2019, https://www.theverge.com/2019/4/2/18201898/tiktok-guide-for-you-challenge-creator-trend-algorithm-privacy (Erişim: 20.09.2021).
  • Burgess, J. (2007). Vernacular creativity and new media. Yayımlanmamış Doktora Tezi. Brisbane: Queensland University of Technology. http://eprints.qut.edu.au/16378/1/ Jean_Burgess_Thesis.pdf (Erişim: 20.09.2021).
  • Cao, Y. - Kovachev, D. - Klamma, R. - Jarke, M.- Lau, R. W. (2015). Tagging diversity in personal learning environments. Journal of Computers in Education, 2(1), 93-121.
  • Clayton, M. (2009). The social and personal functions of music in crosscultural perspective. Oxford Handbook of Music Psychology, (Eds. S. Hallam, I. Cross, M. Thaut), p. 35-44, Oxford: Oxford University Press.
  • Dave, P. (2018). China’s bytedance scrubs muscial.ly brand in favor of TikTok. Reuters, August 2. https://www.reuters.com/article/us-bytedance-musically/chinas-bytedance-scrubs-musically-brand-in-favor-of-tiktok-idUSKBN1KN0BW (Erişim: 01.09.2021)
  • Dichev, C. - Xu, J. - Dicheva, D. - Zhang, J. (2008). A study on community formation in collaborative tagging systems. 2008 IEEE/WIC/ACM International Conference on Web Intelligence and Intelligent Agent Technology. Vol. 3, pp. 13-16, IEEE.
  • Eriksson Krutrök, M. (2021). Algorithmic closeness in mourning: Vernaculars of the hashtag #grief on TikTok. Social Media + Society.
  • Geyser, W. (2021). TikTok statistics – Revenue, users & engagement stats (2021). August 18 2021. https://influencermarketinghub.com/tiktok-stats/ (Erişim: 01.09.2021).
  • Hine, C. (2000). Virtual ethnography. London, UK: Sage Publications.
  • Hutchinson, A. (2021). Tiktok adds new music-Triggered visual effects tools, April 7, 2021. https://www.socialmediatoday.com/news/tiktok-adds-new-music-triggered-visual-effects-tools/598006/ (Erişim: 13.09.2021).
  • Jennings, R. (2019). TikTok, explained, it’s part of the world’s most valuable startup, but you probably only know about the memes. https://www.vox.com/culture/2018/12/10/18129126/tiktok-app-musically-meme-cringe (Erişim: 30.08.2021).
  • Jenkins, H. (2018). Convergence culture. Revisited. Etkileşim, (2), 10-19.
  • Klug, D. (2020). It took me almost 30 minutes to practice this. Performance and Production Practices in Dance Challenge Videos on TikTok. arXiv preprint arXiv:2008.13040.
  • Merriam-Webster. (n.d.). Meme. In Merriam-Webster.com dictionary. Retrieved September 25, 2021, from https://www.merriam-webster.com/dictionary/meme
  • Merriam-Webster. (n.d.). Influencer. In Merriam-Webster.com dictionary. Retrieved November 23, 2021, from https://www.merriam-webster.com/dictionary/influencer
  • Merriam, A. P. (1964). The anthropology of music. Northwestern University Press
  • Newlands, M. (2016). The origin and future of America's hottest new app: musical.ly. forbes.com, Jun 10. https://www.forbes.com/sites/mnewlands/2016/06/10/the-origin-and-future-of-americas-hottest-new-app-musical-ly/?sh=456c9fe5b078 (Erişim: 30.08.2021).
  • Morva, O. (2017). Chicago Sosyoloji Okulu’nun etnografik mirasını yeniden Okumak: dijital etnografi çağında sembolik etkileşimcilik. Moment Dergi, 4(1), 135-154.
  • Omar, B. - Dequan, W. (2020). Watch, share or create: The influence of personality traits and user motivation on TikTok mobile video usage. International Journal Of Interactive Mobile Technologies (IJIM), 14(04), pp. 121-137.
  • Özbaş Anbarlı, Z. (2020). Dijital Eetnografi: Dijital uzamı anlamak için bir yöntem. Global Media Journal: Turkish Edition, 10(20).
  • Pink, S. - Horst, H. - Postill, J. - Hjorth, L. - Lewis, T. - Tacchi, J. (2016). Digital ethnography: Principles and practice. London: Sage.
  • Savic, M. (2021). Research perspectives on TikTok & Its legacy apps from musically to TikTok: Social construction of 2020’s most downloaded short-video app. International Journal Of Communication, 15, 22.
  • Shifman, L. (2011). An anatomy of a YouTube meme. New Media and Society, 14(2): 187-203.
  • Small, T. A. (2011). What the hashtag?. Information, Communication & Society, 14(6), pp. 872-895.
  • Tirosh, O. (2019). What is TikTok?: Localization done right at a global scale. tomedes.com, Nov 14. https://www.tomedes.com/tomedes-insider/what-is-tik-tok.php (Erişim: 03.09.2021).
  • “TikTok.” (2021). Google Play, Vers. 21.2.5. https://play.google.com/store/apps/details?id=com.zhiliaoapp.musically&hl=tr&gl=US (Erişim: 11.09.2021)
  • Turino, T. (1993). Moving away from silence: Music of the Peruvian Altiplano and the experiment of urban migration. Chicago: University of Chicago Press.
  • Turino, T. (2008). Music as social life: The politics of participation. University of Chicago Press.
  • Vizcaíno-Verdú, A. - Abidin, C. (2021). Cross-cultural storytelling approaches in Tiktok’s music challenges. AoIR Selected Papers of Internet Research, 2021.
  • Wang, Y. - Chen, W. (2021). Cross-cultural communication strategies research of socializing apps during internet era. 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021), pp. 454-460, Atlantis Press.
  • Yılmaz, Ç. (2017). İnternet-ortamlı mem çalışmaları: Uluslararası alanyazına bir bakış ve Türkiye’deki olanaklar. Global Media Journal TR Edition, 8(15),182-207.

THE USE OF MUSIC AND PERFORMANCE PRACTICES IN TİKTOK FROM THE PERSPECTIVE OF DIGITAL ETNOGRAPHY

Yıl 2021, Cilt: 14 Sayı: 36, 1317 - 1332, 17.12.2021
https://doi.org/10.12981/mahder.1013893

Öz

: TikTok is one of the music-based social media applications that allow its users to create, share and watch videos of all kinds. Digital platforms like TikTok enable cultural production and distribution systems to gradually reduce the distinction between producers and consumers by allowing people who were only in the position of viewers in the past to produce and share creative content efficiently. The simultaneous global communication platform uses a set of hashtags and collective identities to create a sense of belonging among members and possibly attract attention to these communities. Using TikTok, individuals with shared interests and tastes become united around common hashtags and resources, accelerating the increase of the effectiveness of the application. Musical behavior, including performance and all kinds of listening processes, is a flexible tool that facilitates interactions and manages relationships between self and the other or between the individual and the community. Therefore, since music and audio are the global languages of the short video app, TikTok plays a vital role in people's creativity and cultural interaction. Self-presentation and content creation are directly connected to performing with short snippets of music or sound on TikTok. This article aims to examine the impact of popular video sharing application TikTok by instrumentalizing 'music' and 'sound' in algorithmic culture, the transformations of creative processes and their cultural effects from the perspective of digital ethnography In order to reach the data needed in the study, the TikTok application was used, and the functional features of the application, the processes of content production and the performance videos created by the users were discussed with a descriptive method.

Kaynakça

  • Anderson, K. E. (2020). Getting acquainted with social networks and apps: it is time to talk about TikTok. Library Hi Tech News. Vol. 37 No. 4, pp. 7-12.
  • Alexander, J. (2019). Your guide to using Tiktok, beyond the app’s ‘for you’ page. theverge.com, Apr 2, 2019, https://www.theverge.com/2019/4/2/18201898/tiktok-guide-for-you-challenge-creator-trend-algorithm-privacy (Erişim: 20.09.2021).
  • Burgess, J. (2007). Vernacular creativity and new media. Yayımlanmamış Doktora Tezi. Brisbane: Queensland University of Technology. http://eprints.qut.edu.au/16378/1/ Jean_Burgess_Thesis.pdf (Erişim: 20.09.2021).
  • Cao, Y. - Kovachev, D. - Klamma, R. - Jarke, M.- Lau, R. W. (2015). Tagging diversity in personal learning environments. Journal of Computers in Education, 2(1), 93-121.
  • Clayton, M. (2009). The social and personal functions of music in crosscultural perspective. Oxford Handbook of Music Psychology, (Eds. S. Hallam, I. Cross, M. Thaut), p. 35-44, Oxford: Oxford University Press.
  • Dave, P. (2018). China’s bytedance scrubs muscial.ly brand in favor of TikTok. Reuters, August 2. https://www.reuters.com/article/us-bytedance-musically/chinas-bytedance-scrubs-musically-brand-in-favor-of-tiktok-idUSKBN1KN0BW (Erişim: 01.09.2021)
  • Dichev, C. - Xu, J. - Dicheva, D. - Zhang, J. (2008). A study on community formation in collaborative tagging systems. 2008 IEEE/WIC/ACM International Conference on Web Intelligence and Intelligent Agent Technology. Vol. 3, pp. 13-16, IEEE.
  • Eriksson Krutrök, M. (2021). Algorithmic closeness in mourning: Vernaculars of the hashtag #grief on TikTok. Social Media + Society.
  • Geyser, W. (2021). TikTok statistics – Revenue, users & engagement stats (2021). August 18 2021. https://influencermarketinghub.com/tiktok-stats/ (Erişim: 01.09.2021).
  • Hine, C. (2000). Virtual ethnography. London, UK: Sage Publications.
  • Hutchinson, A. (2021). Tiktok adds new music-Triggered visual effects tools, April 7, 2021. https://www.socialmediatoday.com/news/tiktok-adds-new-music-triggered-visual-effects-tools/598006/ (Erişim: 13.09.2021).
  • Jennings, R. (2019). TikTok, explained, it’s part of the world’s most valuable startup, but you probably only know about the memes. https://www.vox.com/culture/2018/12/10/18129126/tiktok-app-musically-meme-cringe (Erişim: 30.08.2021).
  • Jenkins, H. (2018). Convergence culture. Revisited. Etkileşim, (2), 10-19.
  • Klug, D. (2020). It took me almost 30 minutes to practice this. Performance and Production Practices in Dance Challenge Videos on TikTok. arXiv preprint arXiv:2008.13040.
  • Merriam-Webster. (n.d.). Meme. In Merriam-Webster.com dictionary. Retrieved September 25, 2021, from https://www.merriam-webster.com/dictionary/meme
  • Merriam-Webster. (n.d.). Influencer. In Merriam-Webster.com dictionary. Retrieved November 23, 2021, from https://www.merriam-webster.com/dictionary/influencer
  • Merriam, A. P. (1964). The anthropology of music. Northwestern University Press
  • Newlands, M. (2016). The origin and future of America's hottest new app: musical.ly. forbes.com, Jun 10. https://www.forbes.com/sites/mnewlands/2016/06/10/the-origin-and-future-of-americas-hottest-new-app-musical-ly/?sh=456c9fe5b078 (Erişim: 30.08.2021).
  • Morva, O. (2017). Chicago Sosyoloji Okulu’nun etnografik mirasını yeniden Okumak: dijital etnografi çağında sembolik etkileşimcilik. Moment Dergi, 4(1), 135-154.
  • Omar, B. - Dequan, W. (2020). Watch, share or create: The influence of personality traits and user motivation on TikTok mobile video usage. International Journal Of Interactive Mobile Technologies (IJIM), 14(04), pp. 121-137.
  • Özbaş Anbarlı, Z. (2020). Dijital Eetnografi: Dijital uzamı anlamak için bir yöntem. Global Media Journal: Turkish Edition, 10(20).
  • Pink, S. - Horst, H. - Postill, J. - Hjorth, L. - Lewis, T. - Tacchi, J. (2016). Digital ethnography: Principles and practice. London: Sage.
  • Savic, M. (2021). Research perspectives on TikTok & Its legacy apps from musically to TikTok: Social construction of 2020’s most downloaded short-video app. International Journal Of Communication, 15, 22.
  • Shifman, L. (2011). An anatomy of a YouTube meme. New Media and Society, 14(2): 187-203.
  • Small, T. A. (2011). What the hashtag?. Information, Communication & Society, 14(6), pp. 872-895.
  • Tirosh, O. (2019). What is TikTok?: Localization done right at a global scale. tomedes.com, Nov 14. https://www.tomedes.com/tomedes-insider/what-is-tik-tok.php (Erişim: 03.09.2021).
  • “TikTok.” (2021). Google Play, Vers. 21.2.5. https://play.google.com/store/apps/details?id=com.zhiliaoapp.musically&hl=tr&gl=US (Erişim: 11.09.2021)
  • Turino, T. (1993). Moving away from silence: Music of the Peruvian Altiplano and the experiment of urban migration. Chicago: University of Chicago Press.
  • Turino, T. (2008). Music as social life: The politics of participation. University of Chicago Press.
  • Vizcaíno-Verdú, A. - Abidin, C. (2021). Cross-cultural storytelling approaches in Tiktok’s music challenges. AoIR Selected Papers of Internet Research, 2021.
  • Wang, Y. - Chen, W. (2021). Cross-cultural communication strategies research of socializing apps during internet era. 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021), pp. 454-460, Atlantis Press.
  • Yılmaz, Ç. (2017). İnternet-ortamlı mem çalışmaları: Uluslararası alanyazına bir bakış ve Türkiye’deki olanaklar. Global Media Journal TR Edition, 8(15),182-207.
Toplam 32 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Kültürel çalışmalar, Müzik
Bölüm Makaleler
Yazarlar

Betül Yarar Koçer 0000-0002-0890-5985

Yayımlanma Tarihi 17 Aralık 2021
Gönderilme Tarihi 23 Ekim 2021
Yayımlandığı Sayı Yıl 2021 Cilt: 14 Sayı: 36

Kaynak Göster

APA Yarar Koçer, B. (2021). DİJİTAL ETNOGRAFİ PERSPEKTİFİNDEN TİKTOK’TA MÜZİĞİN KULLANIMI VE PERFORMANS PRATİKLERİ. Motif Akademi Halkbilimi Dergisi, 14(36), 1317-1332. https://doi.org/10.12981/mahder.1013893