Etnomüzikoloji Dergisi

Yazarlar: Gökmen ÖZMENTEŞ, Onur ŞENEL

Konular:-

Anahtar Kelimeler:Music education,Hegemony,Ethnomusicology

Özet: Music education was the most important instrument of the music policies of the Republican era which had historical continuity with the Westernization movements in the Ottoman Empire. In this area, the analysis of the Westernization discourses in the light of the views of Gramsci, Althusser and Hobsbawm, in this area from the Ottoman to the present day, pointed to a serious canon accumulation. The aim of the study is to analyze the canon and canonization process of Turkey Music Education in hegemony- ideology-tradition invention linearity. The canons were analyzed with de- scriptive analysis and examined under the following categories: canons re- lated to music, canons within the framework of national music, canons re- lated to the function of music education, canons related to popular culture and music, and music theoretical canons. As a result of the discourse analy- sis, the effectiveness of two main classes in the canonization process has attracted attention: Canon makers producing classical texts in the field and the canon repeaters that provide their continuity. It has been understood that the basic functions of the canons are embodied in legitimizing the westernization/modernization movements in music, establishing relations with the past and forming a certain class identity. Despite their superficial- ity, canons were found to be very powerful in terms of creating discourse and the construction of the cultural elitist class. This has been a strong sign that canons are used as a hegemonic tool rather than pedagogical principles in music education.

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