DEDE EFENDI AS A PIONEERING FIGURE ON THE THRESHOLD OF A NEW WORLD

Ali Ergur

Makale detayları

DEDE EFENDI AS A PIONEERING FIGURE ON THE THRESHOLD OF A NEW WORLD

Yazarlar:

Ali Ergur

Yayıncı:

Ege University

Ana Başlıklar:

Değişme | Azgelişmişlik ve Modernleşme Sosyolojisi | Kültür Sosyolojisi | Müzik Sosyolojisi

Dergi:

Sosyoloji Dergisi Issue 48, pp.215-229

Belge Tipi:

Makale

Yayın Tarihi:

11/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001332439

pISSN:

1300-5642

Anahtar kelimeler:

Özet:

 The composer Hammâmîzade İsmail Dede Efendi, recognized as one of the pillars of Turkish Makam Music, is often perceived by the contemporary representatives of this musical tradition as a genius and a great innovator of his time. While Dede Efendi should undoubtedly acknowledged for his exceptional musical talent, it is also essential to consider him within the broader socio-economic context and historical period in which he lived. He lived during a period of broader social changes, including the reconfiguration of power balance on the international stage, the rise of the Industrial Revolution, and the formation of modern values and relations. These external factors coincided with the internal dynamics of the Ottoman Empire, particularly the structural changes and reforms of policies during the New Order Nizam-I Cedîd era. As the pace of change triggered by industrial capitalism accelerated in Western Europe and stimulated the emergence of modern culture, the Ottoman Empire, as an older political organization, felt the urgent need to adapt to this new socio-economic context. The Ottoman Empire can be defined as a kind of Ancien Régime, structurally inappropriate to survive the capitalist transformation, which was based on the supremacy of the agricultural economy and military conquests. Although there had been earlier attempts at structural reform, they didnt have lasting effects. However, by the end of the eighteenth century, when the need for change became inevitable, a series of reformist policies were initiated. This era of institutional reforms has been baptized as the New Order Nizâm-I Cedîd during the reigns of Sultans Selim III and Mahmud II. Dede Efendi is analyzed in this article as a typical individual of this historical period of conflicts and contradictions, embodying the tensions between the traditional music in which he was raised and the rising demands for popular music driven by changing tastes.

 The composer Hammâmîzade İsmail Dede Efendi, recognized as one of the pillars of Turkish Makam Music, is often perceived by the contemporary representatives of this musical tradition as a genius and a great innovator of his time. While Dede Efendi should undoubtedly acknowledged for his exceptional musical talent, it is also essential to consider him within the broader socio-economic context and historical period in which he lived. He lived during a period of broader social changes, including the reconfiguration of power balance on the international stage, the rise of the Industrial Revolution, and the formation of modern values and relations. These external factors coincided with the internal dynamics of the Ottoman Empire, particularly the structural changes and reforms of policies during the New Order Nizam-I Cedîd era. As the pace of change triggered by industrial capitalism accelerated in Western Europe and stimulated the emergence of modern culture, the Ottoman Empire, as an older political organization, felt the urgent need to adapt to this new socio-economic context. The Ottoman Empire can be defined as a kind of Ancien Régime, structurally inappropriate to survive the capitalist transformation, which was based on the supremacy of the agricultural economy and military conquests. Although there had been earlier attempts at structural reform, they didnt have lasting effects. However, by the end of the eighteenth century, when the need for change became inevitable, a series of reformist policies were initiated. This era of institutional reforms has been baptized as the New Order Nizâm-I Cedîd during the reigns of Sultans Selim III and Mahmud II. Dede Efendi is analyzed in this article as a typical individual of this historical period of conflicts and contradictions, embodying the tensions between the traditional music in which he was raised and the rising demands for popular music driven by changing tastes.

 The composer Hammâmîzade İsmail Dede Efendi, recognized as one of the pillars of Turkish Makam Music, is often perceived by the contemporary representatives of this musical tradition as a genius and a great innovator of his time. While Dede Efendi should undoubtedly acknowledged for his exceptional musical talent, it is also essential to consider him within the broader socio-economic context and historical period in which he lived. He lived during a period of broader social changes, including the reconfiguration of power balance on the international stage, the rise of the Industrial Revolution, and the formation of modern values and relations. These external factors coincided with the internal dynamics of the Ottoman Empire, particularly the structural changes and reforms of policies during the New Order Nizam-I Cedîd era. As the pace of change triggered by industrial capitalism accelerated in Western Europe and stimulated the emergence of modern culture, the Ottoman Empire, as an older political organization, felt the urgent need to adapt to this new socio-economic context. The Ottoman Empire can be defined as a kind of Ancien Régime, structurally inappropriate to survive the capitalist transformation, which was based on the supremacy of the agricultural economy and military conquests. Although there had been earlier attempts at structural reform, they didnt have lasting effects. However, by the end of the eighteenth century, when the need for change became inevitable, a series of reformist policies were initiated. This era of institutional reforms has been baptized as the New Order Nizâm-I Cedîd during the reigns of Sultans Selim III and Mahmud II. Dede Efendi is analyzed in this article as a typical individual of this historical period of conflicts and contradictions, embodying the tensions between the traditional music in which he was raised and the rising demands for popular music driven by changing tastes.

 Türk Makam Müziğinin temel taşlarından biri kabul edilen Hammâmizâde İsmail Dede Efendi, müzik çevrelerinde genellikle dâhi bir sanatçı ve büyük bir yenilikçi olarak kabul edilmektedir. Dede Efendi kuşkusuz olağanüstü bir yetenek sahibi bir bestekâr olarak nitelenmelidir. Bununla birlikte, sanatçı, bu özel yeteneğinin yanı sıra bir toplumsal-ekonomik bağlamın ve belli bir tarihsel dönemin ürünü olarak değerlendirilmelidir. Dede Efendinin yaşadığı dönem, Osmanlı Devletinin değişme çabalarının yaşandığı Nizâm-ı Cedîd sürecini içerdiği kadar, uluslararası güç dengelerinin yeniden oluştuğu, Sanayi Devriminin hızlandığı, modern kültürün şekillendiği bir tarihsel dönüm noktasını oluşturur. Osmanlı Devleti, bu hızla değişen dünyaya ayak uydurma zorunluluğunu somut olarak hissetmiş, bu yönde reformlar yapma girişimlerini on sekizinci yüzyıl sonlarından itibaren başlatmıştır. III. Selim ve II. Mahmudun saltanat dönemleriyle örtüşen bu değişme dönemi, doğrusal ve istikrarlı bir gelişme göstermez; tersine, pek çok çatışma ve çelişki barındırır. Reformcu aktörler ve hareketler, eski düzenin devamını savunan güç odaklarıyla sürekli çatışma içinde olmuştur. Bununla birlikte, toplum hayatı, Avrupadakinden farklı bir karakter gösterse de tedricen kentli ve modern değerlere yakınlaşamaya başlamıştır. Müzik üretimi ve beğenileri, hızlanan, karmaşıklaşan, dünyayla daha yakın ilişkilere giren büyük kentlerde, bir yandan piyasa mantığı ekseninde yeniden biçimlenirken diğer yandan daha dünyevî bir karakter kazanmıştır. Dede Efendi, bu makalede, sosyolojik bir perspektif içinde değerlendirilip bu büyük dönüşümler ve çelişkiler çağının bir aktörü olarak kavramsallaştırılmıştır. Dede Efendi, her dönemde örnekleri görülen, içinden yetiştiği müzik geleneğini yaşatmak ve sanatsal olarak en gelişkin müziği yapmak isteyen, ancak aynı zamanda yükselen popüler taleplere en iyi şekilde yanıt vermek zorunda olan, gelenekle piyasa arasında bölünen bestekâr tipinin arketipi olarak tanımlanabilir.

Makale detayları

DEDE EFENDI AS A PIONEERING FIGURE ON THE THRESHOLD OF A NEW WORLD

Yazarlar:

Ali Ergur

Yayıncı:

Ege University

Ana Başlıklar:

Değişme | Azgelişmişlik ve Modernleşme Sosyolojisi | Kültür Sosyolojisi | Müzik Sosyolojisi

Dergi:

Sosyoloji Dergisi Issue 48, pp.215-229

Belge Tipi:

Makale

Yayın Tarihi:

11/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001332439

pISSN:

1300-5642

Dede Efendi

Nizâm-ı Cedîd

modernization of Turkish Music

music market

Ottoman modernization

popular musicDede Efendi

Nizâm-ı Cedîd

Türk Müziği’nde modernleşme

müzik piyasası

Osmanlı modernleşmesi

popüler müzik

Sayı

Makale detayları

Yazarlar: Ali Ergur

Yayıncı: Ege University

Ana Başlıklar: Değişme | Azgelişmişlik ve Modernleşme Sosyolojisi | Kültür Sosyolojisi | Müzik Sosyolojisi

Dergi: Sosyoloji Dergisi Issue 48, pp.215-229

Belge Tipi: Makale

Yayın Tarihi: 11/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001332439

pISSN: 1300-5642

Sayı

Yazarlar:

Ali Ergur

Yayıncı:

Ege University

Ana Başlıklar:

Değişme | Azgelişmişlik ve Modernleşme Sosyolojisi | Kültür Sosyolojisi | Müzik Sosyolojisi

Dergi:

Sosyoloji Dergisi Issue 48, pp.215-229

Belge Tipi:

Makale

Yayın Tarihi:

11/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001332439

pISSN:

1300-5642