{"id":2164,"date":"2022-07-12T18:04:23","date_gmt":"2022-07-12T15:04:23","guid":{"rendered":"https:\/\/www.felsefidusun.com\/?page_id=2164"},"modified":"2022-07-12T21:40:37","modified_gmt":"2022-07-12T18:40:37","slug":"z_sayi_15_muzik-ve-felsefe","status":"publish","type":"page","link":"https:\/\/www.felsefidusun.com\/?page_id=2164","title":{"rendered":"Z_Say\u0131_15_M\u00fczik ve Felsefe"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:var(--awb-color3);border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1144px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_4 1_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-1\"><p><a href=\"https:\/\/www.felsefidusun.com\/?page_id=1958\"><span style=\"color: #ff0000;\"><strong>&lt;&lt;Ar\u015five d\u00f6n<\/strong><\/span><\/a><\/p>\n<\/div><div ><span class=\" fusion-imageframe imageframe-none imageframe-1 hover-type-none\"><img width=\"254\" height=\"300\" title=\"Say\u0131:15 -M\u00fczik ve Felsefe\/ Ekim 2020\" src=\"http:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe-254x300.jpg\" alt class=\"img-responsive wp-image-2098\" srcset=\"https:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe-200x236.jpg 200w, https:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe-400x472.jpg 400w, https:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe-600x708.jpg 600w, https:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe-800x944.jpg 800w, https:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe-1200x1416.jpg 1200w, https:\/\/www.felsefidusun.com\/wp-content\/uploads\/2022\/07\/Fd15_Muzik-ve-Felsefe.jpg 2040w\" sizes=\"(max-width: 640px) 100vw, 400px\" \/><\/span><\/div><div class=\"fusion-text fusion-text-2\"><p><strong>Felsefi D\u00fc\u015f\u00fcn Say\u0131: 15 &#8211; M\u00fczik ve Felsefe \/ Ekim 2020<\/strong><\/p>\n<p><strong>Say\u0131 Edit\u00f6r\u00fc: U\u011fur EKREN (\u0130stanbul \u00dcniversitesi)<\/strong><\/p>\n<\/div><div class=\"fusion-separator fusion-has-icon\" style=\"align-self: center;margin-left: auto;margin-right: auto;margin-top:7px;margin-bottom:7px;width:100%;max-width:%80;\"><div class=\"fusion-separator-border sep-single sep-solid\" style=\"border-color:#000000;border-top-width:1px;\"><\/div><span class=\"icon-wrapper\" style=\"border-color:#000000;background-color:#000000;font-size:16px;width: 1.75em; height: 1.75em;border-width:1px;padding:1px;margin-top:-0.5px\"><i class=\"fa-align-justify fas\" style=\"font-size: inherit;color:var(--awb-color3);\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-separator-border sep-single sep-solid\" style=\"border-color:#000000;border-top-width:1px;\"><\/div><\/div><div class=\"fusion-text fusion-text-3\"><p><em>Makalelerin \u00f6zetleri ve anahtar kelimeleri i\u00e7in l\u00fctfen ilgili makalenin ismi \u00fczerine t\u0131klay\u0131n\u0131z.<\/em><\/p>\n<\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-0{width:25% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-0 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 7.68%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 7.68%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-0{width:25% !important;order : 0;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 7.68%;margin-left : 7.68%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-0{width:100% !important;order : 0;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_3_4 3_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-4\"><h3 style=\"padding-left: 40px;\"><strong>MAKALELER<\/strong><\/h3>\n<\/div><style type=\"text\/css\">#accordion-2164-1 .fusion-panel:hover{ border-color: var(--awb-color3) } #accordion-2164-1 .fusion-panel { border-color:var(--awb-color3); }.fusion-accordian  #accordion-2164-1 .panel-title a .fa-fusion-box{ color: #000000;}.fusion-accordian  #accordion-2164-1 .panel-title a .fa-fusion-box:before{ font-size: 12px; width: 12px;}.fusion-accordian  #accordion-2164-1 .panel-title a{font-size:18px;line-height:1.5;color:var(--awb-color8);font-family:Garamond, serif;font-weight:400;}.fusion-accordian  #accordion-2164-1 .toggle-content{font-size:16px;color:var(--awb-color8);font-family:Garamond, serif;font-weight:400;}.fusion-accordian  #accordion-2164-1 .panel-title a:not(.active):hover, #accordion-2164-1 .fusion-toggle-boxed-mode:hover .panel-title a { color: var(--awb-color5);}.fusion-accordian  #accordion-2164-1 .fusion-toggle-boxed-mode:hover .panel-title a .fa-fusion-box{ color: var(--awb-color5);}.fusion-accordian  #accordion-2164-1.fusion-toggle-icon-unboxed .fusion-panel .panel-title a:not(.active):hover .fa-fusion-box{ color: var(--awb-color5) !important;}<\/style><div class=\"accordian fusion-accordian\"><div class=\"panel-group fusion-toggle-icon-unboxed\" id=\"accordion-2164-1\"><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-b25bbbeed1d14036e .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-b25bbbeed1d14036e .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-b25bbbeed1d14036e\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_b25bbbeed1d14036e\"><a aria-expanded=\"false\" aria-controls=\"b25bbbeed1d14036e\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#b25bbbeed1d14036e\" href=\"#b25bbbeed1d14036e\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">John Cage ve Rastlamsall\u0131k \/ Nesrin AKAN<\/span><\/a><\/h4><\/div><div id=\"b25bbbeed1d14036e\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_b25bbbeed1d14036e\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>M\u00fczik tarihinde, \u00f6zellikle 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131ndan itibaren \u00e7ok yo\u011fun ve farkl\u0131 geli\u015fmeler ya\u015fanm\u0131\u015ft\u0131r. Toplumsal ya\u015famda, modernizmle birlikte geli\u015fen teknolojinin de etkisiyle ya\u015fanan de\u011fi\u015fim, hayat\u0131n b\u00fct\u00fcn alanlar\u0131nda oldu\u011fu gibi sanat\u0131 dolay\u0131s\u0131yla m\u00fczi\u011fi de etkilemi\u015f ve halihaz\u0131rda varolan\u0131n sorgulanmas\u0131n\u0131, farkl\u0131l\u0131k ve yenilik aray\u0131\u015flar\u0131n\u0131 beraberinde getirmi\u015ftir. Ortaya \u00e7\u0131kan bu yeni alg\u0131 ve anlay\u0131\u015f, bestecileri, geleneksel besteleme y\u00f6ntemleri ve mevcut malzemeyi kullanmak ile yetinmek yerine, yeni besteleme y\u00f6ntemleri ve malzeme aray\u0131\u015flar\u0131na itmi\u015ftir. Bu geli\u015fme, hem eserleri, hem de eserlerin icras\u0131n\u0131-seslendirilmesini de\u011fi\u015ftirmi\u015ftir. John Cage (1912-1992), s\u00f6z konusu duruma verilebilecek en uygun \u00f6rneklerden biridir. Rastlamsal (Random) m\u00fczi\u011fin en \u00f6nemli temsilcisi olarak ya\u015fam\u0131 boyunca \u00e7ok farkl\u0131 uygulamalarla etkili olmu\u015f ve olmaya devam eden bir sanat\u00e7\u0131, d\u00fc\u015f\u00fcn\u00fcr, m\u00fczisyen, besteci, e\u011fitimci ve yazard\u0131r. New York Okulu\u2019nun bir \u00fcyesi olan Cage, kimilerine g\u00f6re avangard, kimilerine g\u00f6re modernist, kimilerine g\u00f6re ise postmodernisttir. Bu ara\u015ft\u0131rmada, John Cage\u2019in kim oldu\u011fu, kimli\u011fi ile birlikte \u00e7al\u0131\u015fmalar\u0131 ve eserleriyle m\u00fczi\u011fe olan etkisi ortaya konulmaya \u00e7al\u0131\u015f\u0131lacakt\u0131r.<\/p>\n<p><strong>Anahtar Kelimeler:\u00a0<\/strong>John Cage, avangard, modernist, postmodernizm, rastlamsall\u0131k, rastlamsal m\u00fczik.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-83957929e5035b645 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-83957929e5035b645 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-83957929e5035b645\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_83957929e5035b645\"><a aria-expanded=\"false\" aria-controls=\"83957929e5035b645\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#83957929e5035b645\" href=\"#83957929e5035b645\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">M\u00fczisyenin \u2018Ate\u015fli Duygularla\u2019 \u0130mtihan\u0131: Tragedyan\u0131n Do\u011fu\u015fu\u2019nda Romantizm Ele\u015ftirisi \/ Kerem EKSEN <\/span><\/a><\/h4><\/div><div id=\"83957929e5035b645\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_83957929e5035b645\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Friedrich Nietzsche\u2019nin Tragedyan\u0131n Do\u011fu\u015fu metninde Euripides sonras\u0131 sanata (ve ayn\u0131 zamanda 19. y\u00fczy\u0131l Alman m\u00fczi\u011fine) y\u00f6neltti\u011fi ele\u015ftiri yorumlan\u0131rken genellikle Sokrates kaynakl\u0131 ak\u0131lc\u0131l\u0131k sorununun alt\u0131 \u00e7izilir. Buna g\u00f6re, Apolloncu ve Dionysos\u00e7u itkilerin tragedyada ula\u015ft\u0131\u011f\u0131 istisnai denge hali Sokrates\u00e7i ak\u0131lc\u0131l\u0131\u011f\u0131n olumsuz etkisiyle bozulmu\u015f, b\u00f6ylelikle sanatsal yarat\u0131c\u0131l\u0131k do\u011fadaki kaynaklar\u0131ndan mahrum kalm\u0131\u015ft\u0131r. Ben bu makalede, bu ele\u015ftirel \u00e7er\u00e7evede s\u0131kl\u0131kla ihmal edilen bir ikinci ele\u015ftiri hatt\u0131na, sanatta duygular\u0131n \u00e7arp\u0131k kullan\u0131m\u0131na y\u00f6nelik Nietzscheci itiraza odaklanaca\u011f\u0131m. Piyanist Glenn Gould\u2019un konuyla ilgili bir al\u0131nt\u0131s\u0131ndan (ve onun m\u00fczikal tavr\u0131ndan) hareketle sanat\u00e7\u0131n\u0131n ki\u015fisel duygularla ili\u015fkisi sorunsal\u0131n\u0131 ortaya koyacak, Nietzsche\u2019nin metnindeki konumu bu sorunsal etraf\u0131nda \u00e7\u00f6z\u00fcmleyece\u011fim. Bu ba\u011flamda makaledeki y\u00f6nlendirici kavramsal ayr\u0131m, Nietzsche\u2019nin Romantik m\u00fczikle Dionysos\u00e7u m\u00fczik aras\u0131nda \u00f6nerdi\u011fi (ancak geli\u015ftirmedi\u011fi) bir ayr\u0131m olacak. Bu ayr\u0131ma y\u00f6nelik \u00e7\u00f6z\u00fcmlemenin merkezinde ise, Nietzsche\u2019nin (m\u00fczik a\u011f\u0131rl\u0131kl\u0131 bir t\u00fcr olan) lirik \u015fiir hakk\u0131ndaki g\u00f6r\u00fc\u015fleri ve bu ba\u011flamda dile getirdi\u011fi, ger\u00e7ek sanat\u0131n ancak bireysel deneyim alan\u0131n\u0131n \u00f6tesinde ortaya \u00e7\u0131kt\u0131\u011f\u0131 \u00f6n kabul\u00fc yer alacak. Bu lirik \u015fiir tart\u0131\u015fmas\u0131ndan hareketle, Nietzsche\u2019nin 19. y\u00fczy\u0131l m\u00fczi\u011fi ele\u015ftirisine ve genel anlamda sanat\u00e7\u0131n\u0131n duygularla kurdu\u011fu ili\u015fkinin nas\u0131l olmas\u0131 gerekti\u011fine dair konumuna de\u011finece\u011fim.<\/p>\n<p><strong>Anahtar Kelimeler:\u00a0<\/strong>Friedrich Nietzsche, Glenn Gould, Tragedyan\u0131n Do\u011fu\u015fu, Romantizm, lirik \u015fiir, duygular, Dionysos, Apollon, itkiler.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-6d860ce809151a8b7 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-6d860ce809151a8b7 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-6d860ce809151a8b7\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_6d860ce809151a8b7\"><a aria-expanded=\"false\" aria-controls=\"6d860ce809151a8b7\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#6d860ce809151a8b7\" href=\"#6d860ce809151a8b7\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Rousseau\u2019nun M\u00fczik Teorisinin Yap\u0131s\u00f6k\u00fcm\u00fc \/ Tacettin ERTU\u011eRUL<\/span><\/a><\/h4><\/div><div id=\"6d860ce809151a8b7\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_6d860ce809151a8b7\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Jacques Derrida Gramatoloji \u00dczerine adl\u0131 eserinde kapsaml\u0131 bir Jean-Jacques Rousseau okumas\u0131na giri\u015fmektedir. Bu makalede s\u00f6zkonusu kar\u015f\u0131la\u015fmay\u0131 Rousseau\u2019nun m\u00fczik teorisi ile ili\u015fkisi bak\u0131m\u0131ndan ele almay\u0131 deniyoruz. Rousseau\u2019da \u00f6znenin duyguda kendine mevcudiyetinin ayr\u0131cal\u0131kl\u0131 fig\u00fcr\u00fc olarak k\u00f6kensel \u2018\u015fark\u0131\u2019 (chant) bir model de\u011feri ta\u015f\u0131r. Rousseau\u2019ya g\u00f6re m\u00fczik ve dil aras\u0131nda g\u00fc\u00e7l\u00fc bir ba\u011f vard\u0131r. Dilden \u00f6nce m\u00fczik yoktur. Filozof s\u00f6z\u00fcn ve \u015fark\u0131n\u0131n k\u00f6kensel birli\u011fini varsayar. Dillerin m\u00fczi\u011fe uygunlu\u011fu ise tutkusal k\u00f6kene yak\u0131nl\u0131klar\u0131yla \u00f6l\u00e7\u00fcl\u00fcr. Derrida Rousseau\u2019nun m\u00fczik teorisini \u2018ilave\u2019 (suppl\u00e9ment) kavrams\u0131s\u0131 ekseninde ele almakta ve Rousseau\u2019ya g\u00f6re m\u00fczi\u011fin giderek soysuzla\u015fmas\u0131na yol a\u00e7an ilave zincirlerinin hareketine odaklanmaktad\u0131r. M\u00fczik ve taklit (mimesis) aras\u0131ndaki ili\u015fki de bu \u00e7er\u00e7evede tart\u0131\u015f\u0131lmaktad\u0131r. \u00d6te yandan, m\u00fczi\u011fin k\u00f6keninin do\u011fa ve k\u00fclt\u00fcr aras\u0131ndaki tuhaf konumu da b\u00f6ylece a\u00e7\u0131\u011fa \u00e7\u0131kmaktad\u0131r. Rousseau\u2019nun s\u00f6ylemek istedikleri ve betimledikleri aras\u0131ndaki fark\u0131n ortaya koyulmas\u0131 bir k\u00f6ken h\u00fclyas\u0131n\u0131 \u00fcretti\u011fi \u00e7eli\u015fkilerle birlikte a\u00e7\u0131\u011fa vurur ve Rousseau\u2019nun melodiye armoni kar\u015f\u0131s\u0131nda ayr\u0131cal\u0131k tan\u0131yan teorisinin zeminini sars\u0131nt\u0131ya u\u011frat\u0131r. Rousseau saf bir k\u00f6ken d\u00fc\u015fler. Derrida ise Rousseau\u2019nun bizim bu \u00e7er\u00e7evede \u2018yaz\u0131 prensibi\u2019 ad\u0131n\u0131 vermeyi tercih edece\u011fimiz \u2018ilave\u2019nin zorunlulu\u011funu betimlemekten ka\u00e7\u0131namad\u0131\u011f\u0131n\u0131 ve k\u00f6keni taml\u0131k, kendine mevcudiyet ve saf bir \u015fimdi olarak tarif etmeyi ba\u015faramad\u0131\u011f\u0131n\u0131 g\u00f6sterir. Aksine Rousseau\u2019nun metni k\u00f6keni sonun ba\u015flang\u0131c\u0131 olarak betimlemektedir. \u00dcstelik Rousseau\u2019nun betimledi\u011fi zorunlulukta Derrida d\u00fc\u015f\u00fcncesinin vazge\u00e7ilmez bir kavrams\u0131s\u0131 da a\u00e7\u0131\u011fa \u00e7\u0131kmaktad\u0131r.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0Yap\u0131s\u00f6k\u00fcm, Derrida, Rousseau, m\u00fczik, taklit, ilave, mevcudiyet, do\u011fa, k\u00fclt\u00fcr, \u015fark\u0131, melodi, armoni.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-ab5eaed1f9a4fdbc7 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-ab5eaed1f9a4fdbc7 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-ab5eaed1f9a4fdbc7\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_ab5eaed1f9a4fdbc7\"><a aria-expanded=\"false\" aria-controls=\"ab5eaed1f9a4fdbc7\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#ab5eaed1f9a4fdbc7\" href=\"#ab5eaed1f9a4fdbc7\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">M\u00fczik Bir T\u00fcr Felsefe Olabilir Mi? Schopenhauer\u2019da M\u00fczi\u011fin Anlam\u0131 \/ Adnan ESENYEL<\/span><\/a><\/h4><\/div><div id=\"ab5eaed1f9a4fdbc7\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_ab5eaed1f9a4fdbc7\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Varolu\u015f bilmecesinin \u00e7\u00f6z\u00fcm\u00fc s\u00f6z konusu oldu\u011funda m\u00fczi\u011fi en az metafizik kadar \u00f6nemli bir faaliyet olarak de\u011ferlendiren Arthur Schopenhauer, b\u00f6ylece m\u00fczik ile felsefe aras\u0131nda zannedilenden ve \u00e7o\u011fu ki\u015finin kabul edebilece\u011finden \u00e7ok daha yak\u0131n bir ili\u015fki oldu\u011fu iddias\u0131ndad\u0131r. Bunun sebebi \u00f6zellikle varolu\u015fun \u00f6z\u00fcne, de\u011ferine ve anlam\u0131na ili\u015fkin sorunun bizzat bu iki etkinli\u011fin ortak \u015fekilde kullan\u0131lmas\u0131n\u0131 talep etmesidir. B\u00f6ylece asl\u0131nda felsefi y\u00f6ntemden t\u00fcm\u00fcyle farkl\u0131 bir \u015fekilde icra edilse de ve hatta \u00f6z\u00fcnde kavramsal bilmeye tamamen yabanc\u0131 olsa da m\u00fczik Schopenhauer\u2019da bir t\u00fcr metafizik yapma tarz\u0131 olarak kendisini ortaya koyar. Ancak felsefe ve m\u00fczik aras\u0131ndaki birlikteli\u011fi sunabilmek i\u00e7in filozof, m\u00fczi\u011fin hem ontolojik hem de epistemolojik a\u00e7\u0131dan felsefenin d\u00fczeyinde bir icra ger\u00e7ekle\u015ftirdi\u011fini g\u00f6stermek zorundad\u0131r. Bunun i\u00e7in Schopenhauer m\u00fczi\u011fin evrensel, ideal, \u00f6zsel ve ezeli-ebedi olan bir bilme tarz\u0131na kar\u015f\u0131l\u0131k geldi\u011fini kan\u0131tlamaya \u00e7al\u0131\u015f\u0131r. Bu ara\u015ft\u0131rman\u0131n sonucunda, m\u00fczik taraf\u0131ndan sa\u011flanan bilginin felsefi bilgiden a\u015fa\u011f\u0131 kalmad\u0131\u011f\u0131 gibi, m\u00fczi\u011fin, varolu\u015fun kendisine y\u00f6nelik insan\u0131n alabilece\u011fi en de\u011ferli tav\u0131rlardan birisini temsil etti\u011fi a\u00e7\u0131\u011fa \u00e7\u0131kar.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0M\u00fczik, felsefe, isteme, bilgi, varolu\u015fun de\u011feri.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-a290cdb968a12348f .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-a290cdb968a12348f .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-a290cdb968a12348f\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_a290cdb968a12348f\"><a aria-expanded=\"false\" aria-controls=\"a290cdb968a12348f\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#a290cdb968a12348f\" href=\"#a290cdb968a12348f\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Tarihsel Geli\u015fiminde M\u00fczik, Soyut Sanat ve Felsefe \u0130li\u015fkisi \/ \u015eule GECE<\/span><\/a><\/h4><\/div><div id=\"a290cdb968a12348f\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_a290cdb968a12348f\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Varolu\u015fsal k\u00f6kenlerimize dair en \u00f6zel a\u00e7\u0131klamalar\u0131 sa\u011flayabilecek, varl\u0131\u011f\u0131m\u0131z\u0131n i\u00e7ine bakmam\u0131z\u0131 ve zaman\u0131 mekan\u0131 a\u015fmam\u0131z\u0131 sa\u011flayabilecek sanat\u0131n en \u00f6zel dallar\u0131ndan biri olan m\u00fczik, ayn\u0131 sanat gibi, \u0130lk\u00e7a\u011flardan modern zamanlara kimi zaman taklit, kimi zaman beceri, kimi zaman yarat\u0131c\u0131l\u0131k, kimi zaman ak\u0131l ve duyusall\u0131\u011f\u0131n bir birle\u015fimi, kimi zaman saf duygusall\u0131k ve do\u011fall\u0131k olarak adland\u0131r\u0131ld\u0131. Kimi filozoflarca bir t\u00fcr dalgalanma ve \u015fizofreni hali olarak bile tan\u0131mland\u0131 (Gilles Deleuze). K\u00f6kensel kayna\u011f\u0131n\u0131 ilham perilerinden alan, i\u00e7inde uyumlu ile uyumsuzu bir harmoniye dahil eden m\u00fczik, soyut sanat ve soyutlama ile, resim ile olan yak\u0131n ili\u015fkisiyle Wassily Kandinsky gibi soyut sanat\u00e7\u0131lara ilham kayna\u011f\u0131 oldu. Bu \u00e7al\u0131\u015fma, m\u00fczi\u011fin k\u00f6kensel tan\u0131m\u0131ndan yola \u00e7\u0131karak, tarihsel s\u00fcre\u00e7te m\u00fczi\u011fin konumu ve filozoflar\u0131n ona bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n ve soyut sanatta resim ile olan \u00f6zel ili\u015fkisinin nas\u0131l kuruldu\u011funa dair bir deneme yazma giri\u015fimidir. Sayg\u0131n bir alan olan m\u00fczik, \u0130lk\u00e7a\u011flardan itibaren Platon, Aristoteles gibi filozoflarca inceleme konusu olmu\u015f, Orta\u00e7a\u011f\u2019da dinsel sistemlere e\u015flik eden bir e\u011fitim alan\u0131 olarak i\u015flenmi\u015f, Ayd\u0131nlanman\u0131n ak\u0131l kutsamas\u0131nda ak\u0131l ve duygu kar\u015f\u0131tl\u0131\u011f\u0131 i\u00e7inde k\u00f6kensel olarak ya akla ya duyguya dayand\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Modern zamanlarda, \u00f6zellikle, soyut sanat ile birlikte, evren ve insan i\u00e7in ya\u015fam\u0131n, zihnin, ruhun canland\u0131r\u0131c\u0131 bir disiplini olmu\u015ftur. M\u00fczik, felsefe ve soyut sanatlar ile ili\u015fkisi i\u00e7inde sonsuzlu\u011fu yakalamam\u0131za olanak tan\u0131yan bir dildir. Bu dili yakalayan evrenle ve kendisiyle bir olu\u015fu ve Arthur Schopenhauer\u2019in dedi\u011fi gibi evrenin g\u00f6z\u00fc olmay\u0131 ba\u015farabilir.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0M\u00fczik, felsefe, Soyut Sanat, F. Nietzsche, W. Kandinsky.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-82e43ef0334134d96 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-82e43ef0334134d96 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-82e43ef0334134d96\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_82e43ef0334134d96\"><a aria-expanded=\"false\" aria-controls=\"82e43ef0334134d96\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#82e43ef0334134d96\" href=\"#82e43ef0334134d96\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Kafalar, G\u00f6zler ve Kulaklar: Modern \u00d6ncesi Felsefe Literat\u00fcr\u00fcnde Ba\u015fl\u0131ca M\u00fczik \u0130ncelemesi Yakla\u015f\u0131mlar\u0131 \/ F\u0131rat \u0130L\u0130M <\/span><\/a><\/h4><\/div><div id=\"82e43ef0334134d96\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_82e43ef0334134d96\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>M\u00fczi\u011fin felsefe tarihinde bir inceleme konusu olarak kendine yer bulmas\u0131, \u00c7in\u2019de ve Antik Yunan\u2019da neredeyse ayn\u0131 tarihlerde ger\u00e7ekle\u015fmi\u015ftir. Konf\u00fc\u00e7y\u00fcs\u2019\u00fcn da\u011f\u0131n\u0131k ve analitik olmaktan uzak i\u015fleyi\u015fine k\u0131yasla, Pythagoras, m\u00fczi\u011fi g\u00f6zleme dayal\u0131 ve \u00f6l\u00e7\u00fclebilir bir g\u00f6rsel y\u00f6ntemle ele alarak Grek m\u00fczik incelemesinin bir disiplin olarak temelini olu\u015fturmu\u015ftur. Pythagoras\u00e7\u0131lar\u0131 takiben Grek m\u00fczik k\u00fclt\u00fcr\u00fcnde ve m\u00fczik incelemesi alan\u0131nda k\u00f6kl\u00fc de\u011fi\u015fimler ya\u015fanm\u0131\u015fsa da, m\u00fczik felsefenin bir konusu olmaya devam etmi\u015f ve m\u00fczik alan\u0131nda Greklerin olu\u015fturdu\u011fu inceleme gelene\u011fi modern d\u00f6nem \u00e7oksesli Avrupa m\u00fczi\u011finin kuramsal temelini olu\u015fturmu\u015ftur. Ancak antik m\u00fczik incelemesinde gerek kullan\u0131lan y\u00f6ntemler, gerekse temel ara\u00e7lar ve ana tart\u0131\u015fma konular\u0131 de\u011fi\u015fiklik g\u00f6stermi\u015ftir. Bu \u00e7al\u0131\u015fmada ama\u00e7lanan, Grek m\u00fczik analizinde ya\u015fanan bu de\u011fi\u015fimlerin tarihsel izlek takip edilerek ana hatlar\u0131n\u0131 ortaya \u00e7\u0131karmakt\u0131r. Bu ba\u011flamda, \u00f6ncelikle \u0130lyada ve Odysseia gibi temel mitolojik metinlerde m\u00fczi\u011fin yeri tart\u0131\u015f\u0131lacak, ard\u0131ndan Grek m\u00fczik incelemesi gelene\u011fin ilk \u00f6rneklerini sunan Pythagoras, Platon ve Aristoteles\u2019in m\u00fczi\u011fe dair d\u00fc\u015f\u00fcnceleri \u00f6zetlenecektir. \u0130kinci olarak, armoni bilimi (harmonics) ve m\u00fczikal analiz \u00fczerine yap\u0131lm\u0131\u015f ba\u015fl\u0131ca \u00e7al\u0131\u015fmalar ele al\u0131narak kuramsal bir disiplin olarak m\u00fczi\u011fin ilk kez ba\u011f\u0131ms\u0131z bir alan olarak tesis edilmesini sa\u011flayan Aristoxenus, Plutarkhos ve Batlamyus\u2019un eserleri ele al\u0131nacakt\u0131r. Son b\u00f6l\u00fcmde ise Katolik Kilisesinin m\u00fczik e\u011fitimini \u015fekillendirmi\u015f olan Boethius\u2019un m\u00fczik kuram\u0131n\u0131n ana hatlar\u0131 ve \u00e7oksesli m\u00fczi\u011fin ilk ele\u015ftirilerini i\u00e7eren Musica Enchiriadis ve Scholia Enchiriadis ba\u015fl\u0131kl\u0131 iki anonim eser incelenecektir.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0M\u00fczikal analiz, armoni, ses aral\u0131\u011f\u0131, oran, uyumlu, uyumsuz.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-b22e4c0c89ac8707c .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-b22e4c0c89ac8707c .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-b22e4c0c89ac8707c\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_b22e4c0c89ac8707c\"><a aria-expanded=\"false\" aria-controls=\"b22e4c0c89ac8707c\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#b22e4c0c89ac8707c\" href=\"#b22e4c0c89ac8707c\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">\u2018\u0130nsan M\u00fczikal Bir Hayvand\u0131r\u2019: Platon\u2019da E\u011fitim, Ahlak Ve Siyasal D\u00fczen Arac\u0131 Olarak M\u00fczik \/ Aydo\u011fan KUTLU<\/span><\/a><\/h4><\/div><div id=\"b22e4c0c89ac8707c\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_b22e4c0c89ac8707c\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Platon, pedagojik, etik ve siyasal gayelerle m\u00fczi\u011fe felsefesinde \u00e7ok \u00f6nemli bir rol vermi\u015f bir filozoftur. Bununla birlikte bu rol, genelde liberal bir okumayla bask\u0131c\u0131 bir siyasal d\u00fczen taraf\u0131ndan m\u00fczi\u011fin ara\u00e7salla\u015ft\u0131r\u0131lmas\u0131 \u00fczerinden de\u011ferlendirilmi\u015ftir. Platon\u2019un felsefesinde m\u00fczi\u011fe atfedilen i\u015flevlerin lay\u0131k\u0131yla irdelenebilmesi i\u00e7in Antik Yunan m\u00fczik anlay\u0131\u015f\u0131n\u0131n ne oldu\u011fu, nas\u0131l geli\u015fti\u011fi ve hangi alanlarla birlikte d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fc ortaya konulmal\u0131d\u0131r. Mousikeyi var eden dinsel, k\u00fclt\u00fcrel ve siyasal ba\u011flam belirginle\u015ftirildi\u011finde, bu ba\u011flam i\u00e7inde Platon\u2019un arg\u00fcmanlar\u0131 daha net bi\u00e7imde anla\u015f\u0131labilecektir. Bu bak\u0131mdan \u00f6ncelikle Platon\u2019un insan\u0131 ritimden ve uyumdan keyif al\u0131p hareketlerine d\u00fczen verebilmesiyle hayvanlardan ay\u0131rmas\u0131 \u00f6nemlidir. \u0130nsan, m\u00fczikal bir hayvand\u0131r. M\u00fczik, do\u011frudan onun ruhuna eri\u015febildi\u011fi i\u00e7in karakterin bi\u00e7imlendirilmesinde de \u00f6nemli oldu\u011fu d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fcr. \u0130nsan\u0131n iyi bir ahlakla ve yetkin bir yurtta\u015f olarak yeti\u015ftirilebilmesi i\u00e7in m\u00fczik e\u011fitiminin ayr\u0131nt\u0131l\u0131 bi\u00e7imde d\u00fczenlenmesi gerekti\u011fine inan\u0131lm\u0131\u015ft\u0131r. \u00d6zellikle M\u00d6 5. y\u00fczy\u0131lda demokrasiyle birlikte geli\u015fen Yeni M\u00fczik ak\u0131m\u0131n\u0131n ezgi, ritim ve makamlarda getirdi\u011fi yeniliklerin demokrasinin yozla\u015fmas\u0131yla ili\u015fkili d\u00fc\u015f\u00fcn\u00fclmesi, Platon\u2019un m\u00fczik konusunda sert tedbirlerin al\u0131nmas\u0131n\u0131 savunmas\u0131nda \u00f6zellikle etkili oldu\u011fu s\u00f6ylenebilir. Bununla birlikte t\u00fcm yurtta\u015flar\u0131n m\u00fc\u015fterek bi\u00e7imde ve aktif kat\u0131l\u0131mla m\u00fczik icra etmesi de Platonik bir ideal olarak kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. Yurtta\u015flar\u0131n birlikte e\u015fg\u00fcd\u00fcm i\u00e7inde hareketleri, m\u00fczik ile kurulabilmektedir.<\/p>\n<p><strong>Anahtar kelimeler:<\/strong>\u00a0Mousike, Etik M\u00fczik Kuram\u0131, Yeni M\u00fczik Ak\u0131m\u0131, Harmonia, demokrasi, teatrokrasi.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-4d2a6e75bce805395 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-4d2a6e75bce805395 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-4d2a6e75bce805395\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_4d2a6e75bce805395\"><a aria-expanded=\"false\" aria-controls=\"4d2a6e75bce805395\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#4d2a6e75bce805395\" href=\"#4d2a6e75bce805395\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Kant ve Beethoven: Saf Pratik Akl\u0131n M\u00fczi\u011fe Getirdi\u011fi Devrim \/ Can OKAN<\/span><\/a><\/h4><\/div><div id=\"4d2a6e75bce805395\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_4d2a6e75bce805395\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Bu makale, Ayd\u0131nlanma d\u00f6neminin b\u00fcy\u00fck filozofu ve felsefe tarihinde yeni bir \u00e7a\u011f\u0131 ba\u015flatan Immanuel Kant ve onun \u00e7a\u011fda\u015f\u0131 olan b\u00fcy\u00fck besteci, m\u00fczik tarihinde yeni bir \u00e7a\u011f\u0131 ba\u015flatan Ludwig van Beethoven\u2019i, Ayd\u0131nlanma d\u00f6neminin ahl\u00e2k felsefesi ba\u015fl\u0131\u011f\u0131 alt\u0131nda bir bulu\u015fturma \u00e7al\u0131\u015fmas\u0131d\u0131r. \u00c7al\u0131\u015fmanin ilk k\u0131sm\u0131, Platon\u2019dan Kant\u2019a kadar felsefe tarihi boyunca belli ba\u015fl\u0131 filozoflar taraf\u0131ndan ortaya \u00e7\u0131kar\u0131lm\u0131\u015f metafizik felsefe sistemleri genel hatlar\u0131yla incelenmi\u015ftir. Bundan sonra, Kant\u2019\u0131n metafizi\u011fi \u00f6nceki t\u00fcm filozoflardan farkl\u0131 kurgulamas\u0131 ve bu sayede ger\u00e7ekle\u015ftirdi\u011fi felsefi devrim a\u00e7\u0131klanmaya \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Kant\u2019\u0131n metafizik sisteminde merkez\u00ee konumda bulunan ahl\u00e2k felsefesi ise bu \u00e7al\u0131\u015fman\u0131n ba\u015fl\u0131ca temas\u0131n\u0131 olu\u015fturmu\u015ftur. Kant\u2019\u0131n ortaya koydu\u011fu ahl\u00e2ki ya\u015fam bi\u00e7imi ve d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fcn Beethoven\u2019in m\u00fczi\u011finde etkisini nas\u0131l g\u00f6sterdi\u011fi incelenmi\u015ftir. Bu etkilenmenin en dikkat \u00e7ekici \u00f6rneklerinden biri olarak, Beethoven\u2019in \u00fcnl\u00fc 9. Senfoni\u2019sinin m\u00fczikal i\u00e7eri\u011finin nas\u0131l belirlendi\u011fine bu \u00e7al\u0131\u015fman\u0131n son k\u0131sm\u0131nda de\u011finilmi\u015ftir. Bu eser, Kant\u2019\u0131n felsefede a\u00e7t\u0131\u011f\u0131 \u00e7\u0131\u011f\u0131ra denk olacak \u015fekilde, m\u00fczik tarihinde bir d\u00f6n\u00fcm noktas\u0131 olmu\u015ftur. Ayr\u0131ca, 2020 y\u0131l\u0131n\u0131n, Beethoven\u2019in 250. do\u011fum y\u0131ld\u00f6n\u00fcm\u00fcne denk gelmesi, bu \u00e7al\u0131\u015fmama ilham kayna\u011f\u0131 oldu.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0Metafizik, ide, ak\u0131l, ahl\u00e2k, \u00f6zg\u00fcrl\u00fck, m\u00fczik, senfoni.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-4deb2205e6c7036a2 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-4deb2205e6c7036a2 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-4deb2205e6c7036a2\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_4deb2205e6c7036a2\"><a aria-expanded=\"false\" aria-controls=\"4deb2205e6c7036a2\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#4deb2205e6c7036a2\" href=\"#4deb2205e6c7036a2\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Susanne K. Langer\u2019\u0131n Bi\u00e7imci M\u00fczik G\u00f6r\u00fc\u015f\u00fc \u00dczerine Bir \u0130nceleme \/ \u00c7a\u011fla \u00d6ZCAN<\/span><\/a><\/h4><\/div><div id=\"4deb2205e6c7036a2\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_4deb2205e6c7036a2\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>M\u00fczi\u011fin i\u00e7sel yap\u0131s\u0131n\u0131 g\u00f6zeterek ger\u00e7ekle\u015ftirilebilecek bir de\u011ferlendirmenin olanaklar\u0131 on dokuzuncu y\u00fczy\u0131l m\u00fczik ele\u015ftirmenlerinden Eduard Hanslick\u2019in m\u00fcziksel bi\u00e7imcili\u011fiyle ortaya \u00e7\u0131km\u0131\u015ft\u0131r. M\u00fczi\u011fe d\u0131\u015fsal hi\u00e7bir \u00f6\u011feyi soru\u015fturmas\u0131na dahil etmeyen bi\u00e7imci g\u00f6r\u00fc\u015f, m\u00fczi\u011fi ne tarihsel ko\u015fullara ne de duygulara i\u015faret etmeksizin de\u011ferlendirmektedir. Buna kar\u015f\u0131n m\u00fcziksel bi\u00e7imcilik, anlam\u0131 ve d\u00fcnyayla kurulan ba\u011f\u0131 d\u0131\u015far\u0131da b\u0131rakt\u0131\u011f\u0131 gerek\u00e7esiyle ele\u015ftirilmi\u015f ve bu ele\u015ftiriler \u0131\u015f\u0131\u011f\u0131nda \u00e7e\u015fitli de\u011fi\u015fiklikler ge\u00e7irmi\u015ftir. Peki\u015ftirilmi\u015f bi\u00e7imcilik olarak adland\u0131r\u0131lan, duygular\u0131n dahil edildi\u011fi m\u00fcziksel bi\u00e7imcilik bu de\u011fi\u015fimin \u00fcr\u00fcn\u00fcd\u00fcr. Bu bi\u00e7imci m\u00fczik g\u00f6r\u00fc\u015f\u00fcn\u00fc yirminci y\u00fczy\u0131l filozoflar\u0131ndan Susanne K. Langer\u2019\u0131n felsefesinde ele al\u0131nd\u0131\u011f\u0131 \u015fekliyle de\u011ferlendirmek, \u00e7al\u0131\u015fmam\u0131z\u0131n temel amac\u0131n\u0131 olu\u015fturmaktad\u0131r. Langer\u2019\u0131n bi\u00e7imci m\u00fczik g\u00f6r\u00fc\u015f\u00fc, duygular\u0131 m\u00fczi\u011fe d\u0131\u015fsal de\u011fil, i\u00e7sel ve kurucu \u00f6\u011feler olarak de\u011ferlendirir. Bu de\u011ferlendirme, duygular\u0131n bi\u00e7imleri ve m\u00fcziksel bi\u00e7imler aras\u0131ndaki benzerlik ileri s\u00fcr\u00fclerek yap\u0131l\u0131r. Ne var ki bu ileri s\u00fcr\u00fcm, belirsizlikler ta\u015f\u0131maktad\u0131r. \u0130lkin duygular\u0131n kendisi belirsizdir; dolay\u0131s\u0131yla onlar\u0131n bi\u00e7imlerinden s\u00f6z etmek olduk\u00e7a g\u00fc\u00e7t\u00fcr. Bu g\u00fc\u00e7l\u00fc\u011f\u00fc farkl\u0131 bir bi\u00e7im belirlenimiyle a\u015fmay\u0131 deneyen Langer\u2019\u0131n m\u00fcziksel bi\u00e7imcili\u011fi de bu temelde kurulmu\u015ftur. \u00c7al\u0131\u015fmam\u0131zda bi\u00e7im, sembol, organik bi\u00e7im, sanat sembol\u00fc kavramlar\u0131 \u00e7er\u00e7evesinde, Langer\u2019\u0131n bi\u00e7imcili\u011finin nas\u0131l olu\u015fturuldu\u011funu a\u00e7\u0131k k\u0131lmaya \u00e7al\u0131\u015faca\u011f\u0131z. Buna ko\u015fut olarak, filozofun de\u011ferlendirme bi\u00e7imindeki a\u00e7mazlar\u0131 serimleyebilmek \u00e7al\u0131\u015fman\u0131n bir di\u011fer amac\u0131n\u0131 olu\u015fturmaktad\u0131r.<\/p>\n<p><strong>Anahtar Kelimeler: <\/strong>M\u00fczik, bi\u00e7im, m\u00fcziksel bi\u00e7imcilik, sembol, duygu.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-1677334b058d226a6 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-1677334b058d226a6 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-1677334b058d226a6\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_1677334b058d226a6\"><a aria-expanded=\"false\" aria-controls=\"1677334b058d226a6\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#1677334b058d226a6\" href=\"#1677334b058d226a6\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Yeni Bir Dinleme Bi\u00e7imi Olarak Negatif Diyalektik \/ Elis \u015e\u0130M\u015eON<\/span><\/a><\/h4><\/div><div id=\"1677334b058d226a6\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_1677334b058d226a6\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Bu \u00e7al\u0131\u015fman\u0131n oda\u011f\u0131ndaki iddia, Theodor W. Adorno\u2019nun t\u00fcm felsefi \u00e7abas\u0131n\u0131n yeni bir dinleme bi\u00e7imi geli\u015ftirme te\u015febb\u00fcs\u00fc olarak okunabilece\u011fini ileri s\u00fcrer. Bu yeni dinleme bi\u00e7imi, modelini, Arnold Schoenberg\u2019in \u201cdisonans\u0131n \u00f6zg\u00fcrle\u015fimi\u201d ilkesine dayanan \u201cYeni M\u00fczik\u201dten al\u0131r. Yeni M\u00fczik, dinleyicisini bir \u015fok etkisiyle y\u00fczle\u015ftirerek \u00e7\u00f6z\u00fclmeyen, uzla\u015ft\u0131r\u0131lmayan, uysalla\u015ft\u0131r\u0131lmayan toplumsal \u00e7eli\u015fkileri duyulur k\u0131lar ve bunlar\u0131n \u00fczerini \u00f6rtmek i\u00e7in her an seferber olan rahatlat\u0131c\u0131 ve regresif dinleme bi\u00e7imlerini s\u00fcrekli kesintiye u\u011frat\u0131r. Adorno\u2019nun m\u00fczik yaz\u0131lar\u0131nda detayland\u0131rd\u0131\u011f\u0131 bu yeni duyma ve dinleme bi\u00e7iminin, yaln\u0131zca m\u00fczikle s\u0131n\u0131rl\u0131 kalmad\u0131\u011f\u0131n\u0131, bunu felsefi d\u00fc\u015f\u00fcncesinin temeline yerle\u015ftirdi\u011fini Negatif Diyalektik adl\u0131 eserinde g\u00f6rmek m\u00fcmk\u00fcnd\u00fcr. Kavram d\u0131\u015f\u0131 olan \u015feyin yok say\u0131ld\u0131\u011f\u0131, eritildi\u011fi, saf d\u0131\u015f\u0131 b\u0131rak\u0131ld\u0131\u011f\u0131 ve hatta katledildi\u011fi \u00f6zde\u015flik d\u00fc\u015f\u00fcncesi belirli bir felsefe yapma bi\u00e7imine i\u015faret eder; \u00e7eli\u015fkilerin uzla\u015ft\u0131r\u0131ld\u0131\u011f\u0131 bir diyalektiktir bu. Adorno\u2019nun \u201cnegatif diyalektik\u201d olarak adland\u0131rd\u0131\u011f\u0131 ise, esasen, kavram d\u0131\u015f\u0131 olan\u0131n kavram\u0131n en \u00f6nemli meselesi haline gelmesi itibar\u0131yla \u201cyeni\u201d bir felsefe yapma bi\u00e7imidir. Burada \u201cyeni\u201d olan, felsefenin yeni bir dinleme stratejisi benimsemesidir. Bu dinleme bi\u00e7imi bizi \u00f6zde\u015fli\u011fin vaat etti\u011fi uzla\u015fmaya kar\u015f\u0131 ele\u015ftirel bir mesafede tutacak olan \u015feydir; dolay\u0131s\u0131yla bu dinleme bi\u00e7imi sayesinde kula\u011f\u0131m\u0131z b\u00fct\u00fcnl\u00fck ve nesnellik i\u00e7inde sakatlanan, kavram d\u0131\u015f\u0131 diye yaftalan\u0131p sessizli\u011fe g\u00f6m\u00fclen, dilsizle\u015ftirilen tekilli\u011fin \u0131st\u0131rab\u0131n\u0131 ve ac\u0131 \u00e7\u0131\u011fl\u0131klar\u0131n\u0131 duymaya yatk\u0131nla\u015facakt\u0131r.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0Theodor W. Adorno, negatif diyalektik, disonans, m\u00fczik, \u00f6zde\u015flik d\u00fc\u015f\u00fcncesi.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-2d7bfc3b17bb133a2 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-2d7bfc3b17bb133a2 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-2d7bfc3b17bb133a2\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_2d7bfc3b17bb133a2\"><a aria-expanded=\"false\" aria-controls=\"2d7bfc3b17bb133a2\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#2d7bfc3b17bb133a2\" href=\"#2d7bfc3b17bb133a2\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Pythagoras Felsefesinde M\u00fczik Ve Matematik \u0130li\u015fkisi \u00dczerine \/ Diler Ezgi TARHAN<\/span><\/a><\/h4><\/div><div id=\"2d7bfc3b17bb133a2\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_2d7bfc3b17bb133a2\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Bu makaleyle, Pythagoras felsefesinin bir yan\u0131yla m\u00fczik bilimine, bir yan\u0131yla matemati\u011fe, bir yan\u0131yla mistisizm ve kozmogoniye, bir di\u011fer yandan da kozmolojiye a\u00e7\u0131lan ezoterik \u00f6\u011fretisinin felsef\u00ee bak\u0131\u015f a\u00e7\u0131s\u0131ndan \u00f6nemli g\u00f6r\u00fclen yanlar\u0131n\u0131 analiz etmek ve Pythagoras \u00f6\u011fretisinin ard\u0131llar\u0131 say\u0131labilecek isimler \u00fczerinden m\u00fczik bilimindeki izlerini s\u00fcrmektir. Bu ama\u00e7la ilk olarak Pythagoras felsefesi ve okulu hakk\u0131nda genel bir bilgi verilecek, akabinde Pythagoras\u2019\u0131n m\u00fczik kuram\u0131n\u0131n, matematiksel temellerine de\u011finilecektir. Pythagoras felsefesinin m\u00fczik \u2013 matematik ili\u015fkisini nas\u0131l kurdu\u011fu a\u00e7\u0131klan\u0131rken Pythagoras\u2019\u0131n \u201cmonokord\u201d ad\u0131 verilen bir alet \u00fczerinde yapt\u0131\u011f\u0131 ses deneylerinden s\u00f6z edilecek ve bu deneyler sonucunda elde etti\u011fi ke\u015fifler a\u00e7\u0131klanacakt\u0131r. Bu bulu\u015flar\u0131n ba\u015f\u0131nda \u015f\u00fcphesiz ki \u201cPisagor gam\u0131\u201d ile \u201cPisagor komas\u0131\u201d ad\u0131 verilen iki \u00f6nemli m\u00fczikal ke\u015fif gelmektedir. Pythagoras\u2019\u0131n say\u0131sal oranlardan hareketle saptad\u0131\u011f\u0131 ses aral\u0131klar\u0131 ile harmonik oktavlara, akustik ses yak\u0131nl\u0131klar\u0131yla ilgisine, pentatonik, diyatonik ve kromatik ses dizileriyle ili\u015fkisine ve tetrad-tetraktis say\u0131lar\u0131yla ilgili g\u00f6r\u00fc\u015flerine de\u011finilerek Pythagoras felsefesinde m\u00fczik \u2013 matematik ili\u015fkisi ortaya konulduktan sonra, Pythagoras felsefesinin, Kepler\u2019in Harmonices Mundi eseri \u00fczerindeki tesirine de\u011finilecektir. Pythagoras\u2019\u0131n Kepler \u00fczerindeki etkisi, Kepler\u2019in \u201cg\u00f6kk\u00fcrelerinin m\u00fczi\u011fi\u201d d\u00fc\u015f\u00fcncesi \u00fczerinden Hindemith, Ligeti, Holzt, Blanchet ve Stockhausen gibi m\u00fczisyenlere ula\u015farak onlar\u0131n, gezegenlerin veya y\u0131ld\u0131zlar\u0131n \u00e7\u0131kard\u0131klar\u0131 seslerden esinlenen besteler yapmalar\u0131na neden olmu\u015ftur. B\u00f6ylece Pythagoras felsefesi, Kepler \u00fczerinden yeni bir \u201ckozmik m\u00fczik\u201d alg\u0131s\u0131 do\u011furmu\u015ftur. \u00d6te yandan Pisagorcu t\u0131n\u0131lar\u0131, Bach, Rebel, Monteverdi, Sch\u00f6nberg, Webern ve Herschel gibi m\u00fczisyenlerin bestelerinde de g\u00f6rebilmekteyiz. Dolay\u0131s\u0131yla bu makaleyle Pythagoras felsefesindeki m\u00fczik-matematik ili\u015fkisi a\u00e7\u0131klan\u0131rken Pisagorcu felsefenin m\u00fczik bilimi ve kozmoloji \u00fczerindeki tesirine de de\u011finilecektir.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0Pythagoras, m\u00fczik, matematik, felsefe, kozmoloji, Harmonices Mundi.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-ffba17262d5992fe0 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-ffba17262d5992fe0 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-ffba17262d5992fe0\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_ffba17262d5992fe0\"><a aria-expanded=\"false\" aria-controls=\"ffba17262d5992fe0\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#ffba17262d5992fe0\" href=\"#ffba17262d5992fe0\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Croce\u2019nin Estetica\u2019s\u0131na Bir Bak\u0131\u015f: Sezgi-\u0130fade \u00d6zde\u015fli\u011fi Olarak M\u00fczik \/ Bar\u0131\u015f UZUN<\/span><\/a><\/h4><\/div><div id=\"ffba17262d5992fe0\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_ffba17262d5992fe0\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Bu \u00e7al\u0131\u015fmada Benedetto Croce\u2019nin Estetica adl\u0131 yap\u0131t\u0131 merkeze al\u0131narak, \u00f6ncelikle tin felsefesi dizgesinin temel kategorilerinin bu yap\u0131tta kuruldu\u011fu g\u00f6sterilmi\u015f ve buna ba\u011fl\u0131 olarak da sanat sorununa felsefenin b\u00fct\u00fcn\u00fc a\u00e7\u0131s\u0131ndan ilk defa kurucu bir rol verildi\u011fi vurgulanm\u0131\u015ft\u0131r. Bu a\u00e7\u0131dan Croce\u2019nin \u00fc\u00e7 yap\u0131ttan m\u00fcte\u015fekkil olan tin felsefesi dizgesinin estetik ile ba\u015flamas\u0131 dikkate de\u011fer bir ayr\u0131nt\u0131 olarak \u00f6ne \u00e7\u0131kmaktad\u0131r. \u0130kinci a\u015famada tin felsefesinin temel kategorileri, epistemik nitelikleri ve aralar\u0131ndaki dairesel ili\u015fki incelenmi\u015f, devam\u0131nda ifadesel etkinli\u011fin do\u011fas\u0131n\u0131 konu edinen felsefi bir bilim olarak esteti\u011fin sanatsal etkinli\u011fi nas\u0131l \u00e7\u00f6z\u00fcmledi\u011fi, Croce\u2019nin ortaya koydu\u011fu \u00f6zde\u015flik dizileriyle ba\u011flant\u0131l\u0131 olarak g\u00f6sterilmi\u015ftir. Croce esteti\u011fini zaman i\u00e7inde gelen ele\u015ftirilere g\u00f6re geli\u015ftirmeye devam etse de sezginin ifade oldu\u011fu temel \u00f6nermesi de\u011fi\u015fmeden kald\u0131\u011f\u0131 i\u00e7in sezgi-ifade \u00f6zde\u015fli\u011fi bu esteti\u011fin temel karakteristi\u011fini belirleyen unsur olarak kabul edilmi\u015f ve \u00e7al\u0131\u015fman\u0131n a\u011f\u0131rl\u0131k noktas\u0131 bu \u00f6zde\u015fli\u011fin ve onunla ilgili sorunlar\u0131n incelenmesiyle olu\u015fturulmu\u015ftur. Son olarak, Croce\u2019nin esteti\u011finin temel savlar\u0131, ta\u015f\u0131d\u0131\u011f\u0131 g\u00fc\u00e7l\u00fc ve zay\u0131f yanlar\u0131yla birlikte m\u00fczik sanat\u0131na uygulanabilirli\u011fi a\u00e7\u0131s\u0131ndan ele\u015ftirel olarak de\u011ferlendirilmi\u015ftir.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong> Platon, g\u00fcr\u00fclt\u00fc, ses, s\u00f6z, m\u00fczik, mitos, logos, politika, e\u011fitim.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-e0031b2e3c2bd3ee0 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-e0031b2e3c2bd3ee0 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-e0031b2e3c2bd3ee0\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_e0031b2e3c2bd3ee0\"><a aria-expanded=\"false\" aria-controls=\"e0031b2e3c2bd3ee0\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#e0031b2e3c2bd3ee0\" href=\"#e0031b2e3c2bd3ee0\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Platon\u2019da M\u00fczi\u011fin Politik Konumu \/ G\u00fcncel O\u011fulcan \u00dcLGEN<\/span><\/a><\/h4><\/div><div id=\"e0031b2e3c2bd3ee0\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_e0031b2e3c2bd3ee0\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Bu makale, \u00e7a\u011fda\u015f filozoflarca ele al\u0131nan m\u00fczik ve politika ili\u015fkisinin k\u00f6kenlerini incelemeyi hedeflemektedir. Bu do\u011frultuda, \u00f6ncelikle Aristoteles\u2019te g\u00fcr\u00fclt\u00fc, ses, s\u00f6z ve m\u00fczik ayr\u0131m\u0131na de\u011finilecek ve m\u00fczi\u011fin ses \u00fczerine in\u015fa edilmesinin bir zorunluluk olmad\u0131\u011f\u0131 g\u00f6sterilmeye \u00e7al\u0131\u015f\u0131lacakt\u0131r. Aristoteles\u2019in yapt\u0131\u011f\u0131 bu ayr\u0131m\u0131 g\u00f6z \u00f6n\u00fcnde bulundurmak makalenin temel tart\u0131\u015fmas\u0131 olan Platon\u2019un s\u00f6z\u00fc di\u011fer i\u015fitilenler kar\u015f\u0131s\u0131nda egemen k\u0131lma giri\u015fimini a\u00e7\u0131k k\u0131labilmek a\u00e7\u0131s\u0131ndan \u00f6nemlidir. Platon\u2019a g\u00f6re m\u00fczik sundu\u011fu kimi olumlu etkilerden dolay\u0131 Platoncu devletin temelini olu\u015fturan e\u011fitimin ba\u015fat unsuru olmal\u0131d\u0131r. Ne var ki, Platon ayn\u0131 zamanda m\u00fczi\u011fin kendisine i\u00e7kin olumsuz etkilerinin s\u0131n\u0131rland\u0131r\u0131lmas\u0131 ve insanlar\u0131 sapt\u0131rmamas\u0131 i\u00e7in logos taraf\u0131ndan denetlenmesi gerekti\u011fini savunmaktad\u0131r. Platon\u2019un m\u00fczi\u011fi neden denetlemek istedi\u011fi ve nas\u0131l denetledi\u011fi Devlet ve Yasalar adl\u0131 metinleri \u00fczerinden derinlemesine ele al\u0131nacakt\u0131r. Sonras\u0131ndaysa Theodor W. Adorno ve John Cage\u2019in Platoncu m\u00fczik kavray\u0131\u015f\u0131na alternatif olabilecek kimi g\u00f6r\u00fc\u015fleri de\u011ferlendirilecek ve ses-temelli (s\u00f6ze-boyun-e\u011fdirilmi\u015f-ses temelli) m\u00fczik yerine g\u00fcr\u00fclt\u00fc-temelli m\u00fczi\u011fin yeni bir m\u00fczik kavray\u0131\u015f\u0131 olarak olanakl\u0131l\u0131\u011f\u0131 tart\u0131\u015f\u0131lacakt\u0131r.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0Platon, g\u00fcr\u00fclt\u00fc, ses, s\u00f6z, m\u00fczik, mitos, logos, politika, e\u011fitim.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-2164-1 .panel-eac708493d25da823 .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-1 .panel-eac708493d25da823 .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-eac708493d25da823\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_eac708493d25da823\"><a aria-expanded=\"false\" aria-controls=\"eac708493d25da823\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-1\" data-target=\"#eac708493d25da823\" href=\"#eac708493d25da823\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon fa-minus fas\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon fa-plus fas\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Caza \u00d6vg\u00fc: Sartre\u2019\u0131 Dinlemek \/ Zeynep ZAFER ESENYEL<\/span><\/a><\/h4><\/div><div id=\"eac708493d25da823\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_eac708493d25da823\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p><strong>\u00d6z<\/strong><\/p>\n<p>Varolu\u015f\u00e7ulu\u011fun m\u00fczikle \u00f6zel bir ba\u011f\u0131 oldu\u011fu bilinir. Jean-Paul Sartre da \u00f6zellikle caz m\u00fczikle otantik bir ili\u015fki kurmu\u015ftur. M\u00fczik hakk\u0131nda \u00e7ok fazla yazmam\u0131\u015f olmas\u0131na ra\u011fmen dostu Ren\u00e9 Leibowitz\u2019in Sanat\u00e7\u0131 ve Bilinci: Sanatsal Bilincin Diyalekti\u011finin Anahatlar\u0131, adl\u0131 kitab\u0131na yazd\u0131\u011f\u0131 \u00f6ns\u00f6z, \u0130mgelem, \u0130mgesel; \u0130mgelemin Fenomenolojik Psikolojisi, Edebiyat Nedir? ve Bulant\u0131 adl\u0131 roman\u0131 bize onun m\u00fczikle varolu\u015f aras\u0131nda kurdu\u011fu ba\u011flant\u0131 hakk\u0131nda \u00f6nemli ipu\u00e7lar\u0131 verir. Her ne kadar d\u00fczyaz\u0131n\u0131n sahip oldu\u011fu g\u00fcce eri\u015femese de m\u00fczik, varolu\u015fun olumsall\u0131\u011f\u0131yla y\u00fczle\u015fmede bulant\u0131y\u0131 kesen bir ila\u00e7 g\u00f6revi g\u00f6r\u00fcr. Sartre d\u00fczyaz\u0131n\u0131n m\u00fczik kar\u015f\u0131s\u0131ndaki avantaj\u0131n\u0131n iletilmek istenen anlam\u0131n d\u00fczyaz\u0131da b\u00fct\u00fcn\u00fcyle ifade edilirken, m\u00fczikte mu\u011flak kalmas\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr. Buna ra\u011fmen Sartre \u00f6zellikle caz m\u00fczik ile varolu\u015f aras\u0131nda \u00f6nemli benzerlikler bulundu\u011funu da ifade eder. Bu yaz\u0131 Sartre\u2019\u0131n hem ki\u015fisel ya\u015fant\u0131s\u0131 hem de d\u00fc\u015f\u00fcncelerinin i\u00e7inde caz m\u00fczi\u011fin izlerini s\u00fcrerek m\u00fczik ve varolu\u015fun anlam\u0131 aras\u0131nda bir ili\u015fki kurmay\u0131 ama\u00e7lamakta ve m\u00fczi\u011fin kurtar\u0131c\u0131 bir g\u00fcc\u00fc oldu\u011funu ke\u015ffetti\u011fi halde Sartre\u2019\u0131n yine de onu neden plastik sanatlar aras\u0131na geri koyarak d\u00fczyaz\u0131y\u0131 y\u00fcceltti\u011fini ortaya koymaya \u00e7al\u0131\u015fmaktad\u0131r.<\/p>\n<p><strong>Anahtar Kelimeler:<\/strong>\u00a0Sartre, Caz M\u00fczik, Roquentin, Bulant\u0131, imge, ger\u00e7ek, ger\u00e7ekd\u0131\u015f\u0131.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-text fusion-text-5\"><h3 style=\"padding-left: 40px;\"><strong>K\u0130TAP \u0130NCELEMES\u0130<\/strong><\/h3>\n<\/div><style type=\"text\/css\">#accordion-2164-2 .fusion-panel:hover{ border-color: var(--awb-color3) } #accordion-2164-2 .fusion-panel { border-color:var(--awb-color3); }.fusion-accordian  #accordion-2164-2 .panel-title a .fa-fusion-box{ color: var(--awb-color1);}.fusion-accordian  #accordion-2164-2 .panel-title a .fa-fusion-box:before{ font-size: 16px; width: 16px;}.fusion-accordian  #accordion-2164-2 .panel-title a{font-size:18px;line-height:1.5;color:var(--awb-color8);font-family:Garamond, serif;font-weight:400;}.fusion-accordian  #accordion-2164-2 .toggle-content{font-size:var(--awb-typography4-font-size);color:var(--awb-color8);font-family:Garamond, serif;font-weight:400;}.fusion-accordian  #accordion-2164-2 .fa-fusion-box { background-color: var(--awb-color8);border-color: var(--awb-color8);}.fusion-accordian  #accordion-2164-2 .panel-title a:not(.active):hover, #accordion-2164-2 .fusion-toggle-boxed-mode:hover .panel-title a { color: var(--awb-color5);}.fusion-accordian  #accordion-2164-2 .panel-title .active .fa-fusion-box,.fusion-accordian  #accordion-2164-2 .panel-title a:not(.active):hover .fa-fusion-box { background-color: var(--awb-color5)!important;border-color: var(--awb-color5)!important;}<\/style><div class=\"accordian fusion-accordian\"><div class=\"panel-group\" id=\"accordion-2164-2\"><style type=\"text\/css\">.fusion-accordian  #accordion-2164-2 .panel-6fd28cd01f49a3bdb .panel-title a{color:var(--awb-color8);}.fusion-accordian  #accordion-2164-2 .panel-6fd28cd01f49a3bdb .toggle-content{color:var(--awb-color8);}<\/style><div class=\"fusion-panel panel-default panel-6fd28cd01f49a3bdb\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_6fd28cd01f49a3bdb\"><a class=\"active\" aria-expanded=\"true\" aria-controls=\"6fd28cd01f49a3bdb\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-2164-2\" data-target=\"#6fd28cd01f49a3bdb\" href=\"#6fd28cd01f49a3bdb\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">U\u011fur EKREN: Felsefenin Perspektifinden J. S. Bach Ve R\u0131chard Wagner\u2019in Sanat\u0131 \u2013\u0130nceleyen: \u00c7i\u011fdem DEM\u0130R<\/span><\/a><\/h4><\/div><div id=\"6fd28cd01f49a3bdb\" class=\"panel-collapse collapse in\" araia-labelledby=\"toggle_6fd28cd01f49a3bdb\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-1{width:75% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-1 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 2.56%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 2.56%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-1{width:75% !important;order : 0;}.fusion-builder-column-1 > .fusion-column-wrapper {margin-right : 2.56%;margin-left : 2.56%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-1{width:100% !important;order : 0;}.fusion-builder-column-1 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-1{ padding-top : 0px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.3 - 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