9 Temmuz 2024 Dergi makalesi Açık Erişim

Onur Güneş Ayas

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    "description": "<p>Bu &ccedil;al\u0131\u015fman\u0131n amac\u0131, son d&ouml;nem Osmanl\u0131 \u0130stanbulu&rsquo;nun en &ouml;nemli e\u011flence merkezlerinden biri olan Direkleraras\u0131&rsquo;nda sahne alan incesaz tak\u0131mlar\u0131n\u0131 m&uuml;zik sosyolojisi perspektifiyle analiz etmek ve T&uuml;rk m&uuml;zi\u011finin Osmanl\u0131&rsquo;n\u0131n son d&ouml;neminde ge&ccedil;irdi\u011fi d&ouml;n&uuml;\u015f&uuml;mde nas\u0131l bir rol oynad\u0131klar\u0131n\u0131 ortaya koymakt\u0131r. Ge&ccedil; d&ouml;nem Osmanl\u0131 toplumunda Ramazan e\u011flenceleriyle &ouml;zde\u015fle\u015fmi\u015f bir k&uuml;lt&uuml;r merkezi olan Direkleraras\u0131, ayn\u0131 zamanda incesaz d&uuml;nyas\u0131yla ili\u015fkili &ccedil;e\u015fitli faaliyetleri birbirine entegre eden bir m&uuml;zik ekonomisine de ev sahipli\u011fi yapmaktayd\u0131. Osmanl\u0131 y&uuml;ksek k&uuml;lt&uuml;r&uuml;n&uuml;n bir uzant\u0131s\u0131 olan incesaz, on dokuzuncu y&uuml;zy\u0131l sonlar\u0131nda Bat\u0131 m&uuml;zi\u011fi kar\u015f\u0131s\u0131nda ya\u015fad\u0131\u011f\u0131 stat&uuml; kayb\u0131n\u0131 sosyo-ekonomik taban\u0131n\u0131 geni\u015fleterek telafi etti ve sonunda ticarile\u015fmi\u015f pop&uuml;ler k&uuml;lt&uuml;r d&uuml;nyas\u0131na entegre oldu. \u0130ncesaz\u0131 farkl\u0131 be\u011feni k&uuml;lt&uuml;rleri ve dinleyici gruplar\u0131yla etkile\u015fime sokan bu s&uuml;re&ccedil;, belli ba\u015fl\u0131 icrac\u0131lar\u0131n\u0131n sosyal arkaplanlar\u0131nda, &ccedil;alg\u0131lar\u0131n\u0131n bile\u015fiminde, repertuar\u0131n\u0131n kapsam ve niteli\u011finde ve dinleyicilerinin beklentilerinde belli de\u011fi\u015fimlere yol a&ccedil;t\u0131. Bu &ccedil;al\u0131\u015fma, incesaz\u0131n Osmanl\u0131&rsquo;n\u0131n son d&ouml;neminde ya\u015fad\u0131\u011f\u0131 bu d&ouml;n&uuml;\u015f&uuml;mde Direkleraras\u0131&rsquo;n\u0131n merkezi bir rol oynad\u0131\u011f\u0131n\u0131 iddia etmektedir. Ciddi m&uuml;zikle e\u011flence m&uuml;zi\u011finin uzunca bir s&uuml;re mek&acirc;nsal ve kurumsal olarak ayr\u0131\u015fmad\u0131\u011f\u0131 bu e\u011flence merkezinde incesaz tak\u0131mlar\u0131, birbirinden farkl\u0131 beklentilere sahip, heterojen bir dinleyici kitlesine hitap etmek zorunda kalm\u0131\u015f, bu da uzant\u0131s\u0131 oldu\u011fu m&uuml;zik gelene\u011finin be\u011feni hiyerar\u015fileri i&ccedil;indeki konumunu bulan\u0131kla\u015ft\u0131rm\u0131\u015ft\u0131r. Kabaca 1870&rsquo;lerden 1910&rsquo;lara kadarki d&ouml;neme odaklanan bu makale, d&ouml;nemin s&uuml;reli yay\u0131nlar\u0131, gazete ilanlar\u0131, hat\u0131rat metinleri ve biyografik kaynaklara dayanarak, Direkleraras\u0131 m&uuml;zik sahnesindeki incesaz tak\u0131mlar\u0131n\u0131n be\u011feni yap\u0131s\u0131n\u0131 icrac\u0131, mek&acirc;n, m&uuml;zik ve dinleyici etkile\u015fimi ekseninde incelemeyi ama&ccedil;lamaktad\u0131r.</p>", 
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      "title": "Dergi makalesi", 
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    "title": "Direkleraras\u0131 M\u00fczik Sahnesi ve \u0130ncesaz Tak\u0131mlar\u0131: M\u00fczisyenler, Repertuar, Dinleyiciler ve Be\u011feni Yap\u0131s\u0131", 
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