Küçük, Parçalı ve Atomlaşmış Dünyanın Müzik Sosyolojisindeki Yeni Kavramları

Sosyoloji Dergisi 38(1): 13–30 DOI: http://dx.doi.org/10.26650/SJ.38.1.0008 tjs.istanbul.edu.tr Sosyoloji Dergisi Başvuru: 22 Şubat 2016 Kabul: 8 Haziran 2017 ARAŞTIRMA MAKALESİ Küçük, Parçalı ve Atomlaşmış Dünyanın Müzik Sosyolojisindeki Yeni Kavramları Elif Damla Yavuz1 Öz Modernizm, postmodernizm ve küreselleşmenin önde gelen teorisyenleri, yirmi birinci yüzyıl dünyasının, birleştirici ve tektipleştirici güçler ile atomlaştırıcı, parçalayıcı ve bölük pörçükleştirici güçlerin, kendilerini ve birbirilerini gerçekleştirme mekanizmaları tarafından şekillendirildiğinde artık hemfikirler. Bu mutabakatın uzantılarını 1990’lardan itibaren müzik sosyolojisi literatüründe de gözlemlemek mümkündür. Öyle ki yirminci yüzyılın ilk yarısında standartlaşma, tektipleşme, endüstrileşme, ticarileşme gibi süreçlere yoğunlaşan ilgi, giderek daha fazla büyük resmin dışında kalan, parçalı, küçük ve yerel birimleri anlamaya yöneldi; böylece her biri farklı derecelerde parçalanmaya, ayrıksılaşmaya, kimi zaman da etkileşimle iç içe geçmeye işaret eden birimleri anlama çabasına dönük yeni kavram ve çerçeveler dolaşıma girdi. Bu makale küçük, parçalı ve atomlaşmış müzik yaşamı analizlerinde ağırlıklı olarak benimsenen sahne (scene), mikromüzikler (micromusics), music milieu ve minör müzik (musique mineure) gibi yeni kavram ve çerçevelerin kapsadıkları, dışladıkları ya da boş bıraktıkları alanları saptayarak müzik sosyolojisindeki kullanımlarını ele almakta; aynı zamanda evrimci biyoloji, ekoloji ve ekonomi çalışmalarında kullanılan niş (niche) kavramını müzik sosyolojisi çalışmaları için önererek küçük ve yerel birimlerin yorumlanmasına genişlik kazandırmayı amaçlamaktadır. Anahtar Kelimeler Sahne • Mikromüzikler • Music milieu • Minör müzik • Niş The New Concepts of the Little, Divided, and Atomized World in the Sociology of Music Abstract Leading theoreticians of modernism, postmodernism, and globalism now agree that the 21st century world is being shaped by unifying and standardizing forces as well as atomizing, dividing, and fragmenting forces through their self-fulfilling mechanisms and awareness of each other. The traces of this agreement can also be found in the literature of music sociology since the 1990s. Indeed, the concentrated interest in the processes of standardization, industrialization, and commercialization during the first half of the 20th century has gradually shifted toward units that stay out of the big picture and are fragmented, small, and local. In an effort to understand such units, new concepts, and theoretical frameworks -each of which refers to fragmentation, differentiation, and sometimes intertwinement through interaction- have been brought into circulation. This article deals with new concepts and theoretical frameworks, such as scene, micromusics, music milieu, and musique mineure as they are found in the analyses of small, fragmented, and atomized musical life within music sociology literature. It aims to determine their scope and limits and also to expand the analysis of small and local units by exploring the concept of niche, which is used in evolutionary biology, ecology, and economy studies. Keywords Scene • Micromusics • Music milieu • Musique mineure • Niche 1 Elif Damla Yavuz (Doç. Dr.), Mimar Sinan Güzel Sanatlar Üniversitesi, İstanbul Devlet Konservatuvarı, Müzikoloji Bölümü, Beşiktaş, 34357 İstanbul. Eposta: Atıf: Yavuz, E. D. (2018). Küçük, parçalı ve atomlaşmış dünyanın müzik sosyolojisindeki yeni kavramları. Sosyoloji Dergisi, 38(1), 13–30. http://dx.doi.org/10.26650/SJ.38.1.0008 ©Yazarlar. İstanbul Üniversitesi tarafından Creative Commons Lisansı (http://creativecommons.org/licenses/by/4.0/) kapsamında yayımlanmıştır. SOSYOLOJİ DERGİSİ Extended Abstract At the beginning of the 21st century, we witnessed how society was fragmented (Jenks, 2007), modern institutions were divided (Giddens, 2010a, 2010b), and nationstates transformed into archipelago-states composed of minorities and diasporas as a result of modern migration movements. We see blurred connections related to the formations of identity and belonging (Bauman, 2015), how organized modernity collapsed (Wagner, 2005), how global and local started to interact (Khonder, 2004; Robertson, 1995), and how this interaction gave birth to new spaces (Appadurai, 1996). This fragmented and atomized world found its place in the debates of modernism, postmodernism and globalism, and after a while, music sociology started to deal with musical activities, practices and tastes in various geographies within the context of their specific conditions and singularities. This shift of focus gave way to new concepts and theoretical frameworks in music sociology literature, such as music scenes (Cohen, 1999), micromusics (Slobin, 1992, 1993), music milieu (Webb, 2007), and musique mineure (Cler & Messina, 2007). There is no doubt that the appearance of new concepts and theoretical frameworks was supported by the criticism or even rejection of existing theoretical frameworks (Bennett, 2004, p. 223), and by the fact that they fell short of analyzing small and local units that were becoming more effective in musical life. On the other hand, by the 1990s the dynamics that shape cultural life had changed. The philanthrocapitalism model (Bishop & Green, 2009; Edwards, 2008) predicting a paradigm shift in sponsorship from state to private sector (Wu, 2005) was accepted and applied more widely. By the 2000s, it became obvious that cultural life at the beginning of the new century was oscillating between big corporations, business organizations, non-governmental organizations, independent organizations, and all kinds of micro organizations and communities; the need for new theoretical tools for analyzing this multi-dynamical system became more obvious than ever before. However, it should be noted that there is no single or centralized system that controls the cultural flow in the 21st century, as well as no single analytical system that can help comprehend this world (Slobin, 1992, pp. 1–5). Indeed, none of the above-mentioned concepts or frameworks claims to analyze the whole system or its parts; such a comprehensive analytical system does not appear possible anymore due to multiple singularities of small and local units. Therefore, the music sociology literature of the last two decades is full of new concepts and theoretical frameworks. Most of them are limited to a few studies; on the other hand, only a few of them are embraced and developed by different researchers. Although all of them agree on the priority and significance of ethnographic methods and in situ experiences to reveal singularities of small and local units, there seems to be no consensus on the definition of these units, or on how such a unit interacts with other units. Some of the researchers who use these concepts and frameworks took a city, a neighborhood, or a community that gathers in a certain venue as a small or local unit, and attempte (...truncated)