{"id":5886,"date":"2011-03-13T21:59:42","date_gmt":"2011-03-13T18:59:42","guid":{"rendered":"http:\/\/localhost\/wordpress\/2011\/03\/13\/kueltuer-enduestrisi-ve-kentli-ak-seda-uyank\/"},"modified":"2011-03-13T21:59:42","modified_gmt":"2011-03-13T18:59:42","slug":"kueltuer-enduestrisi-ve-kentli-ak-seda-uyank","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2011\/03\/13\/kueltuer-enduestrisi-ve-kentli-ak-seda-uyank\/","title":{"rendered":"K\u00fclt\u00fcr End\u00fcstrisi ve Kentli \u00c2\u015f\u0131k | Seda Uyan\u0131k"},"content":{"rendered":"

G\u00fcn\u00fcm\u00fcz k\u00fclt\u00fcr end\u00fcstrisinde halka ula\u015fmak, halkla ileti\u015fim kurmak i\u00e7in gelene\u011fe, eskiye, Anadolu\u2019ya \u00f6zg\u00fc unsurlara ba\u015fvurulmas\u0131 dikkat \u00e7ekicidir. K\u00fcreselle\u015fen d\u00fcnya ve bu s\u00fcre\u00e7 i\u00e7erisinde halk\u0131n se\u00e7imlerinin de\u011fi\u015fmesiyle, halk k\u00fclt\u00fcr\u00fcn\u00fcn bir par\u00e7as\u0131 olan halk \u015fiiri ve t\u00fcrk\u00fcler de teknolojinin olanaklar\u0131ndan faydalan\u0131larak bir yeniden \u00fcretime tabi tutulmu\u015ftur. Bu yeniden \u00fcretimin baz\u0131 nedenlerine de\u011finen Theodor W. Adorno,\u201cK\u00fclt\u00fcr End\u00fcstrisini Yeniden D\u00fc\u015f\u00fcn\u00fcrken\u201d adl\u0131 makalesinde k\u00fclt\u00fcr end\u00fcstrisinin \u201ceskil olanla tan\u0131d\u0131k olan\u0131 yeni bir nitelikte birle\u015ftir[di\u011fini]\u201d s\u00f6ylemektedir (89). Kitlelerin t\u00fcketimine g\u00f6re d\u00fczenlenen ve b\u00fcy\u00fck \u00f6l\u00e7\u00fcde o t\u00fcketimin yap\u0131s\u0131n\u0131 belirleyen \u00fcr\u00fcnlerin, t\u00fcm sekt\u00f6rlerde az \u00e7ok bir plana g\u00f6re \u00fcretildi\u011finin alt\u0131n\u0131 \u00e7izen Adorno, t\u00fcm sekt\u00f6rlerin yap\u0131salolarak benzer olduklar\u0131n\u0131 ya da en az\u0131ndan birbirlerinin a\u00e7\u0131klar\u0131n\u0131 kapatarak,
neredeyse tamamen gediksiz bir sistem olu\u015fturduklar\u0131n\u0131 belirtmekte ve bunu olanakl\u0131 k\u0131lan\u0131n sadece \u00e7a\u011fda\u015f teknik yeterlikler\u00a0 de\u011fil, ayn\u0131 zamanda ekonomik ve y\u00f6netsel yo\u011funla\u015fmalar oldu\u011funu dile getirmektedir. Bu k\u00fclt\u00fcr \u00fcr\u00fcnlerinin \u00fcretimi ve t\u00fcketiminin devaml\u0131l\u0131\u011f\u0131n\u0131 sa\u011flayan kitle ileti\u015fim ara\u00e7lar\u0131 ise Adorno taraf\u0131ndan \u015f\u00f6yle yorumlanmaktad\u0131r:\u00d6zellikle k\u00fclt\u00fcr end\u00fcstrisi i\u00e7in bi\u00e7imlendirilmi\u015f olan kitle ileti\u015fim ara\u00e7lar\u0131 terimi, vurguyu nispeten zarars\u0131z bir alana kayd\u0131rmakta \u00e7ok i\u015fe yaram\u0131\u015ft\u0131r.<\/p>\n

Ger\u00e7ekte ne \u00f6ncelikle kitlelerle, ne de ileti\u015fim tekniklerinin geli\u015fimiyle bir ilgisi vard\u0131r, aksine onlar\u0131 dolduran ruhla,sahiplerinin sesiyle ili\u015fkilidir. K\u00fclt\u00fcr end\u00fcstrisi [\u2026] verili ve de\u011fi\u015fmez say\u0131lan bir zihniyeti \u00e7o\u011faltmaya ve g\u00fc\u00e7lendirmeye \u00e7al\u0131\u015f\u0131r. Her ne kadar k\u00fclt\u00fcr end\u00fcstrisi kitlelere uyum sa\u011flamadan varolamayacak olsa da, kitleler onun \u00f6l\u00e7\u00fct\u00fc de\u011fil ideolojisidir. (89)Burada dikkati \u00e7eken noktalardan biri Adorno\u2019nun k\u00fclt\u00fcr end\u00fcstrisinin \u201cverili ve de\u011fi\u015fmez say\u0131lan bir zihniyeti \u00e7o\u011faltmaya\u201d \u00e7al\u0131\u015ft\u0131\u011f\u0131 ifadesidir. K\u00fclt\u00fcr end\u00fcstrisinin bu yan\u0131, baz\u0131 k\u00fclt\u00fcrel \u00fcr\u00fcnlerin formlar\u0131n\u0131n de\u011fi\u015ftirilmesine, toplumun ideolojik e\u011filimleri ve ekonomik beklentiler d\u00e2hilinde sanat eserinin otantikli\u011finin kald\u0131r\u0131lmas\u0131na ya da eserin \u00e7e\u015fitli unsurlar\u0131na dokunulmadan yorumlanmas\u0131na yani Adorno\u2019nun tabiriyle eski ile yeninin birle\u015ftirilmesine i\u015faret etmektedir. Bu yorumlardan biri de halk \u015fiirinde, \u00f6zellikle de t\u00fcrk\u00fcler konusunda kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. G\u00fcn\u00fcm\u00fczde de pop\u00fclerli\u011fini koruyan bir t\u00fcr olan Anadolu Rock m\u00fczi\u011fi bu ba\u011flamda \u00f6rnek verilebilir. Bu \u00e7al\u0131\u015fmada k\u00fclt\u00fcr end\u00fcstrisi i\u00e7erisinde Anadolu Rock m\u00fczi\u011finin i\u015flevi, t\u00fcrk\u00fcleri \u201cRock sound\u201du ile yorumlayan K\u0131ra\u00e7\u2019\u0131n \u00e7al\u0131\u015fmalar\u0131, \u00e2\u015f\u0131kl\u0131k gelene\u011fi ve halk m\u00fczi\u011fi ile kar\u015f\u0131la\u015ft\u0131r\u0131larak incelenecektir.<\/p>\n

Gelene\u011fe Eklemlenen Anadolu Rock <\/strong><\/p>\n

Anadolu Rock, halk \u015fiirlerinin bestelenmesi ya da bu t\u00fcrk\u00fclerin Rock m\u00fczi\u011fin temel unsurlar\u0131 ile i\u015flenmesi sonucu ortaya \u00e7\u0131km\u0131\u015f bir t\u00fcrd\u00fcr. Yurt d\u0131\u015f\u0131nda \u00f6zellikle \u0130ngiltere ve Amerika\u2019da 1968 ku\u015fa\u011f\u0131 m\u00fczisyenlerince \u00fcretilen ve m\u00fczik piyasas\u0131nda \u00f6nemli bir ivme yakalam\u0131\u015f olan Rock m\u00fczik ak\u0131m\u0131ndan T\u00fcrkiye de etkilenmi\u015f; yurt d\u0131\u015f\u0131nda gruplar\u0131n iyi \u00e7\u0131k\u0131\u015flar yapmalar\u0131ndan sonra 1967\u201368 y\u0131llar\u0131nda, T\u00fcrkiye\u2019de de Anadolu Rock\u2019\u0131n temelleri at\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r. Vikipedia\u2019daki \u201cAnadolu Rock\u201d maddesinde \u00f6zellikle 70\u2019li y\u0131llarda T\u00fcrkiye\u2019deki m\u00fczisyenlerin yurtd\u0131\u015f\u0131ndaki ak\u0131mlar\u0131 olduk\u00e7a yak\u0131ndan takip ettikleri s\u00f6ylenmekte ve bu m\u00fczik t\u00fcr\u00fcn\u00fcn T\u00fcrkiye\u2019de farkl\u0131 boyutlara ta\u015f\u0131nmas\u0131 \u015fu \u015fekilde \u00f6zetlenmektedir. \u201cM\u00fczisyenlerin fark\u0131nda olduklar\u0131 bir \u015fey vard\u0131 ki bu da kendi \u00fclkelerinin m\u00fczi\u011finin asl\u0131nda \u00e7ok k\u00f6kl\u00fc bir ge\u00e7mi\u015fe sahip oldu\u011fu[ydu]. [\u2026] [Onlar] hem bat\u0131daki d\u00fcnyay\u0131 sallam\u0131\u015f gruplar\u0131n \u00e7al\u0131\u015fmalar\u0131ndan, hem de kendi \u00fclkelerinin yerel m\u00fczi\u011finden yararlanarak \u00e7ok sa\u011flam do\u011fu-bat\u0131 sentezleri ortaya \u00e7\u0131karmas\u0131n\u0131 bildiler\u201d. \u201cAnadolu Rock\u201dmaddesinin alt\u0131nda, bu m\u00fczik t\u00fcr\u00fcn\u00fcn temsilcileri aras\u0131nda ise Erkin Koray,Cem Karaca, Bar\u0131\u015f Man\u00e7o, Mo\u011follar, Bulutsuzluk \u00d6zlemi, Edip Akbayram, K\u0131ra\u00e7 gibi isimler s\u0131ralanmaktad\u0131r. Anodolu Rock m\u00fczi\u011finin temsilcilerinden say\u0131lan K\u0131ra\u00e7, son d\u00f6nemlerde televizyon programlar\u0131, klipleri ve dizilere yapt\u0131\u011f\u0131 m\u00fcziklerle b\u00fcy\u00fck \u00e7apta bir hayran kitlesine ula\u015farak pop\u00fclerle\u015fmi\u015f, 1998 y\u0131l\u0131ndan itibaren yapt\u0131\u011f\u0131 alt\u0131 alb\u00fcmle m\u00fczik piyasas\u0131nda yer alm\u0131\u015f ve alb\u00fcmlerine ald\u0131\u011f\u0131 \u201cKarahisar Kalesi\u201d, \u201cAcem K\u0131z\u0131\u201d, \u201c\u00c7ay\u0131r \u00c7imen Geze Geze\u201d, \u201cE\u015fe\u011fi Sald\u0131m \u00c7ay\u0131ra\u201d, \u201cSar\u0131 Gelin\u201d, \u201c\u015eark\u00f6y T\u00fcrk\u00fcs\u00fc\u201d,\u201cYayla Yollar\u0131\u201d, \u201cKeklik\u201d, \u201cDerik\u201d, \u201cDemirci\u201d gibi bir\u00e7ok t\u00fcrk\u00fcn\u00fcn yan\u0131 s\u0131ra,yorumlad\u0131\u011f\u0131 baz\u0131 t\u00fcrk\u00fclere video klip \u00e7ekerek televizyon arac\u0131l\u0131\u011f\u0131yla da halka ula\u015fm\u0131\u015ft\u0131r. \u00c2\u015f\u0131klar\u0131n saz (ba\u011flama) e\u015fli\u011finde icra ettikleri s\u00f6zl\u00fc \u00fcr\u00fcn\u00fc, bas ve elektrogitarlar arac\u0131l\u0131\u011f\u0131yla kay\u0131t eden \u015fark\u0131c\u0131n\u0131n t\u00fcrk\u00fclere y\u00f6nelmesinin alt\u0131nda halk \u015fiiri ve t\u00fcrk\u00fclerden yararlanarak kendi m\u00fczi\u011fini ortaya koyma \u00e7abas\u0131 olabilece\u011fi gibi, di\u011fer yandan t\u00fcrk\u00fclerin halk kitlesi aras\u0131nda pop\u00fcler olan yeni bir tarzla yorumlanmas\u0131 e\u011filiminin sonucu ortaya \u00e7\u0131kan \u00e7al\u0131\u015fman\u0131n ekonomik kayg\u0131larla piyasaya sunuldu\u011fu da g\u00f6z ard\u0131 edilmemesi gereken bir konudur.Nitekim burada bir k\u00fclt\u00fcr \u00fcr\u00fcn\u00fc olan halk \u015fiirinin metala\u015fmas\u0131 da s\u00f6z konusudur. Bu noktada folklorizm kavram\u0131 \u00f6nem kazanmaktad\u0131r.<\/p>\n

Folklorun Sahtesi: Fakelore adl\u0131 kitapta yer alan \u201cFolklorizm, Nostalji ve K\u00fclt\u00fcrel Miras\u201d adl\u0131 makalesinde Ulrika Wolf-Knuts, folklorizmin kavramsal y\u00f6n\u00fc ve \u00f6zellikleri \u00fczerinde durmaktad\u0131r. Hans Moser\u2019in bu kavram\u0131 1962\u2019de,folklorun ticaret ve k\u00fclt\u00fcr politikalar\u0131 i\u00e7in bir hedef olarak yeniden ke\u015ffedildi\u011finin ya da ke\u015ffedilmi\u015f oldu\u011funun fark\u0131na vard\u0131\u011f\u0131nda tan\u0131mlad\u0131\u011f\u0131n\u0131 belirten Wolf-Knuts, Moser\u2019in, folklorizm ihtiyac\u0131n\u0131, de\u011fi\u015fim d\u00f6nemlerindeki tek bi\u00e7im a\u015famas\u0131na indirgemeye kar\u015f\u0131 psikolojik koruma gereksinimi olarak a\u00e7\u0131klad\u0131\u011f\u0131n\u0131 dile getirmektedir: \u201cMoser\u2019e g\u00f6re folklorizm \u00fcr\u00fcnleri insanlar\u0131n duygular\u0131n\u0131 cezbetti, onlar halk\u0131 e\u011flendirdiler ve e\u011fitsel olabilirlerdi. Folklorizm \u00fcr\u00fcnleri, turistler i\u00e7in yap\u0131lan reklamlar, el sanatlar\u0131 dernekleri ve k\u00fclt\u00fcr politikalar\u0131 taraf\u0131ndan desteklendi. Ekonomik y\u00f6n\u00fc, turizm end\u00fcstrisi, reklamlar ve kitle ileti\u015fim ara\u00e7lar\u0131 taraf\u0131ndan sunulur\u201d (176). Burada folklor ile ekonomik y\u00f6n\u00fcn g\u00f6zetilmesine yani folklor \u00fcr\u00fcnlerinin piyasala\u015ft\u0131r\u0131lmas\u0131na ili\u015fkin d\u00fc\u015f\u00fcnce \u00f6nemlidir ve \u00e7al\u0131\u015fmam\u0131zda temel ald\u0131\u011f\u0131m\u0131z \u00f6rnek ile ili\u015fkilendirilebilir. K\u0131ra\u00e7, t\u00fcrk\u00fcleri kaset ve cd\u2019lerine koyarak halka ula\u015fmakta ve halk\u0131n be\u011fenisini kazan\u0131rken bir taraftan da \u015fark\u0131c\u0131n\u0131n m\u00fczik piyasas\u0131nda folklor \u00fcr\u00fcnlerini kullan\u0131rken uyand\u0131rabilece\u011fi olumlu etkinin beraberinde getirdi\u011fi bu ekonomik y\u00f6n g\u00f6zler \u00f6n\u00fcndedir. Bu ba\u011flamda K\u0131ra\u00e7\u2019\u0131n m\u00fczik alb\u00fcmlerinde yer alan \u00fcr\u00fcnlerin ne \u015fekilde de\u011ferlendirilece\u011fi sorunu \u00f6nemlidir. Jeff Todd Titon,\u201cM\u00fczik, Halk ve Gelenek\u201d adl\u0131 makalesinde \u201chalk m\u00fczi\u011fi, geleneksel ve s\u00f6zl\u00fc olarak bir nesilden bir nesile aktar\u0131lan,her g\u00fcn y\u00fcz y\u00fcze ileti\u015fim ve sosyal etkile\u015fimle s\u0131k s\u0131k uygulanan, b\u00f6lgeler ve etnik k\u00f6kene ba\u011fl\u0131 m\u00fczik tarzlar\u0131ndan olu\u015f[tu\u011funu]\u201d (371) s\u00f6ylemekte, \u201c\u00e7a\u011fda\u015f halkbilimcilere g\u00f6re halk m\u00fczi\u011finde s\u00fcre\u00e7 insan eliyle yap\u0131lm\u0131\u015f de\u011ferli \u015feylerden daha \u00f6nemli h\u00e2le gelmi\u015ftir ve bug\u00fcn halk t\u00fcrk\u00fcs\u00fc sadece notal\u0131 bir metin de\u011fil, o notal\u0131 metnin uygulamalar\u0131, icra edili\u015fleri olarak d\u00fc\u015f\u00fcn\u00fcl\u00fcyor. Halk t\u00fcrk\u00fcs\u00fcn\u00fcn anlam\u0131, metninden icra edildi\u011fi durumda vermek istedi\u011fi mesajdan olu\u015fur\u201d (371-72) demektedir. Titon\u2019un ifadelerinden hareketle halk t\u00fcrk\u00fcs\u00fcn\u00fcn pratik i\u015flevinin, icra ortam\u0131n\u0131n \u00f6nemli oldu\u011fu, halk t\u00fcrk\u00fcs\u00fcn\u00fcn s\u00fcre\u00e7 i\u00e7erisinde de\u011fi\u015febildi\u011fi ve farkl\u0131 icra \u015fekillerinde yorumlanabildi\u011fi s\u00f6ylenebilmektedir.<\/p>\n

Bu noktada Titon\u2019un medya yoluyla ya\u015fanan etkile\u015fim ve bu do\u011frultuda t\u00fcrk\u00fclerin formlar\u0131n\u0131n de\u011fi\u015febilir oldu\u011fu konusundaki ifadeleri ilgi \u00e7ekicidir: \u201c1920\u2019li y\u0131llar\u0131n ba\u015flar\u0131nda, Amerika Birle\u015fik Devletleri\u2019nin ticari ses kay\u0131t \u015firketleri \u00e7e\u015fitli etnik gruplar [\u2026] i\u00e7in \u00f6zel diziler haz\u0131rlad\u0131. Ayn\u0131 zamanda medya iletimi,yerel ve b\u00f6lgesel repertuarlar\u0131 di\u011fer b\u00f6lgelere g\u00f6t\u00fcrm\u00fc\u015flerdir ve meydana gelen m\u00fczikteki kar\u015f\u0131l\u0131kl\u0131 etkile\u015fim, \u00e7o\u011fu s\u00f6zl\u00fc olarak ayn\u0131 zamanda da medya arac\u0131l\u0131\u011f\u0131yla aktar\u0131lan melez (kar\u0131\u015f\u0131k) stiller ve tarzlar yaratm\u0131\u015ft\u0131r\u201d (374). Benzer bir bak\u0131\u015f Gerard Henri Behaque\u2019un, \u201cM\u00fczik Performans\u0131\u201d adl\u0131 yaz\u0131s\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. 19. ve 20. as\u0131r m\u00fczi\u011finin notalar\u0131n\u0131n \u00f6zelle\u015ftirilmi\u015f olmas\u0131na ra\u011fmen sound \u00fcretiminin tam olarak a\u00e7\u0131klanamad\u0131\u011f\u0131na dikkati \u00e7eken Behaque,icrac\u0131ya g\u00f6re farkl\u0131la\u015fan tarzlarda folk m\u00fczik yorumlar\u0131ndan bahsetmektedir:
\u201cFolk (Amerikan halk m\u00fczi\u011fi) m\u00fczi\u011finde, e\u011fitimsiz ve \u015fehirle ilgili pop\u00fcler k\u00fclt\u00fcr m\u00fczi\u011fi, performansta (icrada \/g\u00f6sterimde) daha belirgindir; \u00e7\u00fcnk\u00fc performans\u0131n bir par\u00e7as\u0131 olan kuralc\u0131 notalama ve par\u00e7an\u0131n b\u00fct\u00fcn akustik \u00f6zelliklerini ortaya koyma gibi bir gayretleri yoktur. [\u2026] Her nas\u0131lsa, b\u00fct\u00fcn notalama sistemlerinin ard\u0131nda zaman ve mek\u00e2na g\u00f6re de\u011fi\u015fim g\u00f6steren dinamik bir s\u00f6zl\u00fc performans gelene\u011fi yatar\u201d (377). Nebi \u00d6zdemir\u2019in,\u00a0\u00a0\u00a0 Medya, K\u00fclt\u00fcr ve Edebiyat adl\u0131 kitab\u0131nda da m\u00fczi\u011fin pop\u00fclerle\u015fmesine ve gelene\u011fin g\u00fcn\u00fcm\u00fcz m\u00fczi\u011findeki belirleyici rollerine dikkat \u00e7ekilmektedir. \u00d6zdemir\u2019e g\u00f6re \u201cT\u00fcrkiye\u2019de h\u0131zla geli\u015fmekte olan bir k\u00fclt\u00fcr ekonomisi alan\u0131ndan s\u00f6z edebilmek m\u00fcmk\u00fcnd\u00fcr.<\/p>\n

D\u00fcnyada ve dolay\u0131s\u0131yla T\u00fcrkiye\u2019de k\u00fclt\u00fcr ekonomisi kapsam\u0131na pek \u00e7ok \u00fcr\u00fcn,etkinlik, mek\u00e2n, sistem dahil edilmekte ve de\u011ferlendirilmektedir\u201d (97). K\u00fclt\u00fcr medya ili\u015fkisine de\u011finen ve kentlerdeki k\u00fclt\u00fcr ekonomisi kapsam\u0131nda imge yarat\u0131m\u0131n\u0131n, \u00fcretiminin ve y\u00f6netiminin \u00f6neminin gittik\u00e7e belirginle\u015fti\u011fini ileri s\u00fcren \u00d6zdemir, Anadolu Rock t\u00fcr\u00fcn\u00fcn medya ba\u011flaml\u0131 olu\u015fumu hakk\u0131nda ise \u201cGazete ve dergilerin katk\u0131lar\u0131yla T\u00fcrk s\u00f6zl\u00fc k\u00fclt\u00fcr\u00fc ve edebiyat\u0131ndan beslenerek geli\u015fen Anadolu Rock adl\u0131 m\u00fczik t\u00fcr\u00fcnde \u00f6zg\u00fcn eserler ve alt t\u00fcrler yarat\u0131lmaya devam edil[di\u011fini] (114) s\u00f6ylemektedir. Yazar, de\u011fi\u015fimin gelene\u011fin do\u011fas\u0131nda oldu\u011funu, gelene\u011fin \u00fcretilmesi ba\u011flam\u0131nda medyan\u0131n bu s\u00fcrece arac\u0131l\u0131k etti\u011fini dile getirerek konuya ili\u015fkin \u015fu \u00f6rne\u011fi vermektedir:
Anadolu Rock adl\u0131 m\u00fczik t\u00fcr\u00fcn\u00fcn temelleri, bir bak\u0131ma gazetelerin d\u00fczenledikleri m\u00fczik yar\u0131\u015fmalar\u0131nda at\u0131lm\u0131\u015ft\u0131r. H\u00fcrriyet Gazetesi Alt\u0131n Mikrofon adl\u0131 m\u00fczik yar\u0131\u015fmas\u0131n\u0131n \u015fartnamesinde \u2018T\u00fcrk halk ya da sanat m\u00fczi\u011fi ezgilerini Bat\u0131l\u0131 enstr\u00fcman ve tarzlarla icra edilmesi\u2019 zorunlulu\u011fu getirilirken Anadolu Rock adl\u0131 m\u00fczik t\u00fcr\u00fcn\u00fcn tan\u0131m\u0131 yap\u0131lm\u0131\u015f gibidir. Bu yar\u0131\u015fmada dereceye giren sanat\u00e7\u0131 ya da gruplar\u0131n eserlerinin plaklara kaydedilerek piyasaya s\u00fcr\u00fclmesini sa\u011flayan\u00a0\u00a0\u00a0 H\u00fcrriyet\u00a0 gazetesi, yeni tarz m\u00fczi\u011fin halk taraf\u0131ndan sevilmesine de \u00f6nc\u00fcl\u00fck etmi\u015ftir. (113)
Dolay\u0131s\u0131yla bu ba\u011flamda m\u00fczikte ya\u015fanan de\u011fi\u015fimin bir kayna\u011f\u0131, bir \u00f6z\u00fc oldu\u011fu ve gelene\u011fin Bat\u0131l\u0131 formla d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi ile modern toplum insan\u0131n\u0131n dikkati \u00e7ekilerek bir piyasa ihtiyac\u0131n\u0131n kar\u015f\u0131land\u0131\u011f\u0131\u00a0\u00a0\u00a0 s\u00f6ylenebilmektedir.Yani,s\u00f6zl\u00fc \u00fcr\u00fcnler nesilden nesile aktar\u0131lmakta, bu esnada de\u011fi\u015fime u\u011framakta ve icra edildikleri ortam\u0131n \u00f6zelliklerine,beklentilerine g\u00f6re \u015fekillenebilmekte,yeni m\u00fczik t\u0131n\u0131lar\u0131 ile dinleyicilerine aktar\u0131labilmekte ve bu durum da k\u00fclt\u00fcr end\u00fcstrisine hizmet etmektedir. Di\u011fer yandan K\u0131ra\u00e7\u2019\u0131n alb\u00fcmlerinde t\u00fcrk\u00fclere a\u011f\u0131rl\u0131k vermesinin yan\u0131 s\u0131ra bir \u00e2\u015f\u0131k gibi mahlasl\u0131 \u015fiirlerinin (burada \u015fiir ile kastedilen \u015fark\u0131 s\u00f6zleridir) olmas\u0131, ayr\u0131ca kendine ait \u015fark\u0131larda da \u00e2\u015f\u0131klara at\u0131flarda bulunmas\u0131 ve bir \u00e2\u015f\u0131k gibi devrinin sosyal ortam\u0131n\u0131 ele\u015ftiren ifadelerinin olmas\u0131, \u015fark\u0131c\u0131n\u0131n \u00e2\u015f\u0131kl\u0131k gelene\u011fine yakla\u015ft\u0131\u011f\u0131 noktalar olarak yorumlanabilir. \u00d6rne\u011fin \u015fark\u0131c\u0131n\u0131n, \u201cSalako\u011flan\u201d adl\u0131 \u015fark\u0131 s\u00f6z\u00fc \u015f\u00f6yledir:<\/p>\n

Sana kim dedi salak o\u011flum \u015fair ol?
Arabesk s\u00f6yle \u00e7ok paraya sahip ol<\/p>\n

B\u0131rak gitsin giden
Sen tek parayla ilgilen
Ac\u0131s\u0131n, kanas\u0131n millet sen dilen<\/p>\n

K\u0131zlar elimizde, paralar cebimizde
A\u011flas\u0131n \u015fark\u0131lar dilimizde<\/p>\n

A\u011fla Veysel\u2019im a\u011fla
A\u011fla Pir Sultan a\u011fla
Neler oluyor bak yurdunda<\/p>\n

Ayr\u0131ca\u00a0\u00a0\u00a0 \u201cwww.anatolianRock.com\u201d adl\u0131 web sitesinde de Anadolu Rock m\u00fczi\u011fi temsilcilerinden say\u0131lan K\u0131ra\u00e7 hakk\u0131nda sitenin forum b\u00f6l\u00fcm\u00fcnde \u00fcyelerinyapt\u0131klar\u0131 yorumlar da \u015fark\u0131c\u0131n\u0131n t\u00fcrk\u00fcleri yorumlay\u0131\u015f\u0131na bak\u0131\u015f\u0131 vermek a\u00e7\u0131s\u0131ndan \u00f6nemlidir. \u00d6rne\u011fin \u201c\u00c7e\u015fminaz\u201dtakma ad\u0131yla yazan bir \u00fcye \u015funlar\u0131 s\u00f6ylemi\u015f: \u201cEminim t\u00fcrk\u00fcleri yine \u00e7ok g\u00fczel yorumlayacak. Kendi k\u00fclt\u00fcr\u00fcnden nefret eden nesiller yeti\u015fece\u011fine en az\u0131ndan t\u00fcrk\u00fcleri bu \u015fekilde \u00f6\u011frenen bir gen\u00e7lik yeti\u015fir ve K\u0131ra\u00e7\u2019\u0131n buna da katk\u0131s\u0131 olur\u201d.
\u201cMasal perisi\u201d takma adl\u0131 \u00fcye \u201cK\u0131ra\u00e7\u2019\u0131n s\u00f6yledi\u011fi daha do\u011frusu yorumlad\u0131\u011f\u0131 t\u00fcrk\u00fcler muhte\u015fem oluyor. Normal zamanda oturup da t\u00fcrk\u00fc dinlemem. Ancak K\u0131ra\u00e7\u2019\u0131n s\u00f6ylediklerini dinlemekten ger\u00e7ekten keyif al\u0131yorum. Zaten en be\u011fendi\u011fim par\u00e7alar\u0131ndan biri de Keklik t\u00fcrk\u00fcs\u00fc\u201d derken \u201c\u00c2\u015f\u0131k Veysel\u201d takma adl\u0131 ki\u015fi \u201cArkada\u015flar bak\u0131n K\u0131ra\u00e7\u2019\u0131n bana ve di\u011fer gen\u00e7lere sevdirdi\u011fi t\u00fcrk\u00fclere: \u2018Derik\u2019,\u2018Kara Y\u0131lan\u2019, \u2018Makaram\u2019, \u2018Karahisar Kalesi\u2019, \u2018E\u015fe\u011fi Sald\u0131m \u00c7ay\u0131ra\u2019, \u2018Sar\u0131 Gelin\u2019,\u2018Yayla Yollar\u0131\u2019, \u2018Keklik\u2019, \u2018\u015eark\u00f6y T\u00fcrk\u00fcs\u00fc\u2019, \u2018Demirci\u2019, \u2018\u00c7ay\u0131r \u00c7imen Geze Geze\u2019,\u2018Derdimi S\u00f6ylesem\u2019, \u2018Cemal\u0131m\u2019, \u2018Yolcu\u2019,\u2018Aman Ay\u015fam\u2019\u2026 Baksan\u0131za ne kadar da hizmet etmi\u015f halk m\u00fczi\u011fimize de\u011fil mi?\u201d diyerek \u015fark\u0131c\u0131n\u0131n halk k\u00fclt\u00fcr\u00fcne katk\u0131da bulundu\u011fu y\u00f6n\u00fcndeki inanc\u0131n\u0131dile getirmektedir. Bu yorumu benzer yorumlar takip etmektedir. \u201cJoyksk\u201d:\u201cK\u0131ra\u00e7\u2019\u0131n o farkl\u0131 sesi ile t\u00fcrk\u00fc okumas\u0131 bence halk m\u00fczi\u011fimizi insanlara sevdirebilir\u201d; \u201cOzankoc\u201d: \u201cK\u0131ra\u00e7 ya\u015fad\u0131k\u00e7a T\u00fcrk halk m\u00fczi\u011fini b\u0131rakmayacakt\u0131r!\u201d.
\u201cToprak02\u201d takma adl\u0131 \u00fcye \u201cK\u0131ra\u00e7\u2019\u0131n bu t\u00fcrk\u00fc i\u015fini de harika bir \u015fekilde yapaca\u011f\u0131ndan eminim. Ger\u00e7ekten o benzersiz sesi ile bizim benzersiz t\u00fcrk\u00fclerimiz birle\u015fti\u011finde ortaya benzersiz bir eser ortaya konulmu\u015f olacak\u201d derken \u201czubeyr\u201d adl\u0131 \u00fcye, \u201cKaracao\u011flan\u2019dan ve \u00c2\u015f\u0131k Veysel\u2019den tan\u0131nmam\u0131\u015f ama g\u00fczel bir \u015feylere eyvallah deriz\u201d; \u201cSfcad\u0131\u201d adl\u0131 \u00fcye ise \u201cBence \u00e7ok g\u00fczel s\u00f6yl\u00fcyor. Mesela \u2018Sar\u0131 Gelin\u2019i o kadar s\u00f6ylemi\u015f ki harika bir \u015fey olmu\u015f. Devam etsin bence…\u201d demektedir ki, bu yorumlar \u00fcyelerin K\u0131ra\u00e7\u2019tan Anadolu Rock tarz\u0131nda t\u00fcrk\u00fc dinlemeyi olumlad\u0131klar\u0131n\u0131n hatta halk k\u00fclt\u00fcr\u00fcn\u00fcn devam\u0131, t\u00fcrk\u00fclerin ya\u015fat\u0131lmas\u0131 ba\u011flam\u0131nda \u015fark\u0131c\u0131ya bir misyon y\u00fcklediklerinin g\u00f6stergesidir. Yorumlarda ideolojik yanlar da yer yer kendini g\u00f6stermektedir. \u00d6rne\u011fin,\u201cMcGR4DY\u201d takma adl\u0131 ki\u015finin \u201cO,\u00a0 t\u00fcrk\u00fclerimizi d\u00fcnyaya tan\u0131tmak istiyor. G\u00f6receksiniz.. Birka\u00e7 y\u0131l sonra \u2018E\u015fe\u011fi Sald\u0131m \u00c7ay\u0131ra\u2019 ve di\u011fer t\u00fcrk\u00fclerimiz Amerika\u2019da, \u0130talya\u2019da, Fransa\u2019da ve di\u011fer \u00fclkelerde dinlenecek. Kimin sayesinde mi? Tabii ki bu t\u00fcrk\u00fcleri tan\u0131tan ki\u015fi sayesinde. K\u0131ra\u00e7\u201d ifadesi yo\u011fun mill\u00ee duygular\u0131 yans\u0131tan bir yorum olarak da de\u011ferlendirilebilir. \u201cSonsuza Kadar\u201d takma adl\u0131 \u00fcye de benzer bir yorum yaparak \u201cK\u0131ra\u00e7\u2019\u0131n amac\u0131 t\u00fcrk\u00fclerimizi d\u00fcnyaya duyurmak arkada\u015flar. Bu y\u00fczden o alb\u00fcm\u00fcn \u00fczerinde \u00e7ok emek harcanmas\u0131 gerek\u201d demektedir. B\u00fct\u00fcn bu yorumlarda,toplumsal de\u011fi\u015fimin sonucu olarak kente ta\u015f\u0131nan folklorik k\u00fclt\u00fcr\u00fcn dinleyiciler \u00fczerindeki etkisi g\u00f6r\u00fclmektedir. Bu tav\u0131r, yani s\u00f6zl\u00fc k\u00fclt\u00fcr \u00fcr\u00fcn\u00fcn\u00fc bir misyon devam ettiriliyormu\u015f\u00e7as\u0131na s\u00fcrd\u00fcrme,milliyete ve k\u00fclt\u00fcre sahip \u00e7\u0131kma d\u00fc\u015f\u00fcncelerini i\u00e7ine alan ideolojik bir ba\u011flamda kullanma, K\u0131ra\u00e7\u2019\u0131n Eurovision \u015fark\u0131 yar\u0131\u015fmas\u0131na yabanc\u0131 \u015fark\u0131lar ile kat\u0131lmaya
ba\u015flayan \u015fark\u0131c\u0131lar i\u00e7in 2007 y\u0131l\u0131nda yapt\u0131\u011f\u0131 yorumlarda da kendini g\u00f6stermektedir. K\u0131ra\u00e7, Sabah G\u00fcnayd\u0131n\u2019da yer alan bir s\u00f6yle\u015fisinde kendisine Eurovision\u2019a kat\u0131l\u0131p kat\u0131lmayaca\u011f\u0131na ili\u015fkin sorulan bir soruya \u201cEurovision ba\u015fl\u0131 ba\u015f\u0131na bir facia. Bu mant\u0131k de\u011fi\u015fmedi\u011fi m\u00fcddet\u00e7e olmaz. [\u2026]. Ayr\u0131ca \u0130ngilizce konu\u015fal\u0131m maymunlu\u011fuyla oraya kat\u0131lmayal\u0131m. Madem m\u00fczik evrensel o zaman Arap\u00e7a [\u015fark\u0131yla] kat\u0131lal\u0131m. Niye Arap\u00e7a, Fars\u00e7a konu\u015fmuyoruz. Maymuna d\u00f6nd\u00fck.Adam bir \u015fark\u0131 yap\u0131yor, T\u00fcrkler anlam\u0131yor. Hepimiz \u0130ngilizce \u00f6\u011frenmek zorunda de\u011filiz\u201d. S\u00f6yle\u015fiyi yapan\u0131n \u201cPeki nas\u0131l kat\u0131lmal\u0131y\u0131z?\u201d sorusuna ise K\u0131ra\u00e7 \u015f\u00f6yle cevap veriyor: \u201cYeni bir beste gerekmiyorsa bir t\u00fcrk\u00fc se\u00e7elim, g\u00f6nderelim. Mesela \u201cE\u015fe\u011fi Sald\u0131m \u00c7ay\u0131ra\u201d gayet g\u00fczel bir t\u00fcrk\u00fc. Onunla kat\u0131lal\u0131m\u201d.Kral Magazin\u2019deki bir s\u00f6yle\u015fisinde ise \u201cEurovision s\u00f6m\u00fcrgele\u015fti\u011fimizin bir kan\u0131t\u0131d\u0131r. Al \u2018Mihriban\u2019\u0131 yeniden d\u00fczenle g\u00f6nder. Bizi bu t\u00fcrk\u00fcden daha iyi anlatan bir \u015fey var m\u0131?\u201d demektedir. \u015eark\u0131c\u0131,Cumhuriyet\u2019teki bir s\u00f6yle\u015finde \u201calb\u00fcmlerimde T\u00fcrk m\u00fczi\u011finin formlar\u0131n\u0131 al\u0131p,Bat\u0131 m\u00fczi\u011finin alt yap\u0131s\u0131n\u0131 kulland\u0131m.T\u00fcrk\u00fcler \u00fczerinde ciddi ciddi durmak i\u00e7in [son] alb\u00fcm\u00fcme t\u00fcrk\u00fc koymad\u0131m.Ama t\u00fcrk\u00fclerden uzakla\u015fm\u0131\u015f de\u011filim.Dinleyiciler en Bat\u0131 tarz\u0131ndaki \u015fark\u0131larda bile bizim kendi k\u00f6kenlerimizin lezzetini bulacaklar\u201d \u015feklinde konu hakk\u0131ndaki g\u00f6r\u00fc\u015flerini dile getirmektedir. Bu ifadelerinde de g\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere K\u0131ra\u00e7\u2019\u0131n \u00f6zellikle de uluslararas\u0131 platformda t\u00fcrk\u00fcler konusundaki politik tavr\u0131 belirgindir. \u015eark\u0131c\u0131, milleti m\u00fczik konusunda temsil edecek \u015feyin kendi k\u00fclt\u00fcr\u00fcn\u00fcn bir \u00f6gesi olan t\u00fcrk\u00fc oldu\u011funun alt\u0131n\u0131 \u00e7izerken, bu t\u00fcrk\u00fclerin de \u201cyeniden d\u00fczenlenmesi\u201d, yani Bat\u0131l\u0131 m\u00fczik formlar\u0131 ile yeniden bi\u00e7imlendirilmesi gerekti\u011fini de ileri s\u00fcrmektedir.B\u00fct\u00fcn bu de\u011finilen noktalar \u0131\u015f\u0131\u011f\u0131nda Anadolu Rock m\u00fczi\u011finin halka,gelene\u011fe ait motifleri kullanarak halk \u015fiirini, t\u00fcrk\u00fcleri d\u00f6n\u00fc\u015ft\u00fcrme ve yeniden \u00fcreterek halkla bulu\u015fturma, b\u00f6ylelikle de k\u00fclt\u00fcre ait unsurlar\u0131n devam\u0131n\u0131 sa\u011flama gibi bir i\u015flevi oldu\u011fu s\u00f6ylenebilirken, ayn\u0131 zamanda m\u00fczik piyasas\u0131nda Bat\u0131 sound\u2019u i\u00e7ine oturtulan t\u00fcrk\u00fcler ile halk kitlelerinin \u00e7ekilerek ekonomik bir potansiyel edinme kayg\u0131s\u0131n\u0131n da g\u00fcd\u00fcld\u00fc\u011f\u00fc ifade edilmelidir. Bu ba\u011flamda K\u0131ra\u00e7\u2019\u0131n modern d\u00fcnyada, \u201cmodernize\u201detti\u011fi t\u00fcrk\u00fclerle halkla bulu\u015ftu\u011fu, bu yolla devrinin sosyal ortam\u0131na ele\u015ftirilerini y\u00f6nelterek protest bir kimlik ortaya koymaya \u00e7al\u0131\u015ft\u0131\u011f\u0131, kitle ileti\u015fim ara\u00e7lar\u0131 kanal\u0131yla \u00e7ekirdek bir dinleyici kitlesi edinerek t\u00fcrk\u00fcleri yeni h\u00e2lleriyle dinletip pop\u00fclerle\u015ftirebildi\u011fi, b\u00f6ylelikle de k\u00fclt\u00fcr end\u00fcstrisinden pay\u0131n\u0131 ald\u0131\u011f\u0131 ve kentli bir \u00e2\u015f\u0131k rol\u00fc oynad\u0131\u011f\u0131 de\u011ferlendirmesini yapabilmek de m\u00fcmk\u00fcnd\u00fcr.<\/p>\n

KAYNAKLAR
\u201cAnadolu Rock\u201d. <http:\/\/tr.wikipedia.org\/wiki\/
Anadolu_Rock>.
Adorno, Theodor W.. \u201cK\u00fclt\u00fcr End\u00fcstrisini Ye-
niden D\u00fc\u015f\u00fcn\u00fcrken\u201d. Cogito 36 (Yaz 2003).
Behaque, Gerard Henri. \u201cM\u00fczik Performans\u0131\u201d.
\u00c7ev. Mustafa Sever. Halkbiliminde
Kuramlar ve Yakla\u015f\u0131mlar 1. Ankara: Mill\u00ee
Folklor Yay\u0131nlar\u0131, 2005.
\u00d6zdemir, Nebi.\u00a0\u00a0\u00a0 Medya, K\u00fclt\u00fcr ve Edebiyat.
Ankara: Geleneksel Yay\u0131nlar\u0131, 2008.
Titon, Jeff Todd. \u201cM\u00fczik, Halk ve Gelenek\u201d.
\u00c7ev. Murat Karabulut. Halkbiliminde
Kuramlar ve Yakla\u015f\u0131mlar 1. Ankara: Mill\u00ee
Folklor Yay\u0131nlar\u0131, 2005.
Wolf-Knuts, Ulrika. \u201cFolklorizm, Nostalji ve
K\u00fclt\u00fcrel Miras\u201d. \u00c7ev. Selcan G\u00fcr\u00e7ay\u0131r.
Folklorun Sahtesi: Fakelore. Ankara: Gele-
neksel Yay\u0131nlar\u0131, 2007.
<http:\/\/www.anatolianRock.com>.
<http:\/\/www.kirac.net\/haberler>.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

G\u00fcn\u00fcm\u00fcz k\u00fclt\u00fcr end\u00fcstrisinde halka ula\u015fmak, halkla ileti\u015fim kurmak i\u00e7in gelene\u011fe, eskiye, Anadolu\u2019ya \u00f6zg\u00fc unsurlara ba\u015fvurulmas\u0131 dikkat \u00e7ekicidir. K\u00fcreselle\u015fen d\u00fcnya ve bu s\u00fcre\u00e7 i\u00e7erisinde halk\u0131n se\u00e7imlerinin de\u011fi\u015fmesiyle, halk k\u00fclt\u00fcr\u00fcn\u00fcn bir par\u00e7as\u0131 olan halk \u015fiiri ve t\u00fcrk\u00fcler de teknolojinin olanaklar\u0131ndan faydalan\u0131larak bir yeniden \u00fcretime tabi tutulmu\u015ftur. Bu yeniden \u00fcretimin baz\u0131 nedenlerine de\u011finen Theodor W. Adorno,\u201cK\u00fclt\u00fcr End\u00fcstrisini Yeniden […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[93],"tags":[],"class_list":["post-5886","post","type-post","status-publish","format-standard","category-muzik-genel-kultur"],"yoast_head":"\nK\u00fclt\u00fcr End\u00fcstrisi ve Kentli \u00c2\u015f\u0131k | Seda Uyan\u0131k - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2011\/03\/13\/kueltuer-enduestrisi-ve-kentli-ak-seda-uyank\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"K\u00fclt\u00fcr End\u00fcstrisi ve Kentli \u00c2\u015f\u0131k | Seda Uyan\u0131k\" \/>\n<meta property=\"og:description\" content=\"G\u00fcn\u00fcm\u00fcz k\u00fclt\u00fcr end\u00fcstrisinde halka ula\u015fmak, halkla ileti\u015fim kurmak i\u00e7in gelene\u011fe, eskiye, Anadolu\u2019ya \u00f6zg\u00fc unsurlara ba\u015fvurulmas\u0131 dikkat \u00e7ekicidir. 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