Doğu Asya’da Öz-oryantalizm Dalgası: Japonya, Çin ve Kore Müzik Kültürlerinde Modernleşme İdeolojisi ve Sonuçları
Author :
Abstract
Modernleşmedeki başarıları açısından Doğu Asya’nın önde gelen ülkeleri olarak kabul edilen Japonya, Çin ve Kore, 20. Yüzyıldan itibaren bilim ve teknolojide Batılı güçlere yaklaşmaya başlarken kendi kültürlerine yönelik önemli bir dönüşüm sürecini de göze almışlardır. Bu süreçte yeni ideolojinin bir simgesi olarak gördükleri müzikte değişim arayışı çoğunlukla kendi kültürlerini Batının gözünden yargılamaya dayalı öz-oryantalist bir tavırdan hareketlenmiş, Batılı görünüme kavuşma ideali geleneksel müzikleri değiştirdiği kadar müziğin tanımını ve toplumsal görünümünü de biçimlendirmiştir. Modernleşmeyi birbirleriyle ilişki olarak deneyimleyen bu ülkeler ortak tarihlerinin yanında kendilerine özgü toplumsal ve siyasi olayların sonucu olan farklı deneyimler de geçirmiştir. Bununla birlikte müzikte modernleşme uğraşının sonuçları bu üç ülke için oldukça benzer kalmış ve 19. Yüzyıldan itibaren maruz kaldıkları özoryantalizm dalgası kendi müzik kültürlerinin görünümü 21. Yüzyılda bile etkilemeye devam ederek Batı müziği ve bu müziğin unsurlarının yerel kültürün parçası olacak şekilde içselleştirilmesine yol açmıştır. Bu bağlamda bu makalede, Doğu Asya’da modernleşme ideolojisinin kökeni ve zaman içindeki evrimi ile bu ideolojinin müzikteki yansımaları öz-oryantalizim kavramı çerçevesinde sorgulanarak, kendilerine özgü modernleşme deneyimleri yaşayan Japonya, Çin ve Kore’nin ulusal müzik hareketleri, geleneksel müziklere yönelik reform çabaları, yeni müzik idealleri ve müzik eğitimi hedefleri ile 19. Yüzyılda müzikte ortaya çıkan modernleşme dalgasının bu ülkeler üzerinde devam etmekte olan sonuçları ele alınacaktır.
Keywords
Abstract
While Japan, China, and Korea, which are considered the leading countries of East Asia in terms of their achievements in modernization, have, since the 20th century, begun to approach the Western powers in science and technology, they have also risked a significant transformation process in their own cultures. In this process, the search for change in music, which they regard as a symbol of the new ideology, has mostly been driven by a self-orientalist attitude based on the judgment of their own cultures through the eyes of the West. Additionally, the ideal of attaining a Western appearance has not only changed their traditional music but also shaped the definition and social appearance of music. These countries experiencing modernization in relation to each other have had different experiences as a result of their idiosyncratic social and political incidents as well as their common history. Moreover, the results of the struggle for modernization in music have remained quite similar for these three countries. The wave of self-orientalism they have been exposed to since the 19th century has continued to affect their musical cultures even in the 21st century. Accordingly, this has led to the internalization of Western music and its elements as part of the local culture. In this context, this study investigates the origins and evolution of modernization ideology in East Asia and its reflections on music within the framework of the concept of self-orientalism. This study discusses the national music movements in Japan, China, and Korea, which have experienced their own unique modernization experiences, their efforts to reform traditional music, their new musical ideals and goals in music education, and the ongoing consequences of the 19th century’s wave of modernization in music within these countries.
Keywords
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