Author :
Abstract
Batı müziğinin tarihsel pratiği içerisinde öne çıkan bir kavram olan uyuşum, perdelerin nitelikleri ve ilişkilerini düzenlemesi bakımından oynadığı hayati rol sebebiyle çeşitli araştırmalara konu olmuştur. Uyuşumu tonal örtüşme olarak gören yaklaşımlar bu örtüşmeyi matematiksel oranlar ile ses ve algı mekanizmasının fiziksel özellikleri bağlamında ele almış, her yer ve zaman için aynı ölçüde geçerli olacak bir uyuşumun tanımlanmasına çalışılmıştır. Kültürel göreceliği dikkate alan çalışmalar yanında uyuşumun evrensel temelleri üzerinde duran deneysel çalışmalarda bile deneyim ve kültürlenmenin öneminin görülmüş olması ise uyuşumun değişken doğasının fark edilmesini sağlamıştır. Geleneksel müzik kültürleri hakkındaki çalışmalar yalnızca işitsel uyuşumun değil aynı zamanda kavramsal uyuşumun da kültüre bağlı bir olgu olduğunu ortaya koymaktadır. Batılı gözlemciler tarafından çoğu kez uyuşumsuz bir müzik türü olarak görülen gamelan, uyuşumun kültürel göreceliğini ortaya koyması bakımından bu tip bir örnektir. Bu bağlamda bu makalede, uyuşum kavramının tarihi, tanımları, uyuşumun algısal süreçleri, deneysel ve kültürel yaklaşımlar ile gamelan müziğinin kavramsal farklılıkları çerçevesinde uyuşum ve perde sistemlerinin kültüre özgü yapısı tartışılacaktır.
Keywords
Abstract
Consonance, a prominent concept in the historical practice of Western music, has been the subject of various studies because of the vital role it has played in terms of the qualities and relations of tunes. Approaches that regard consonance as a tonal overlap have addressed this overlap in the context of mathematical ratios and physical properties of the voice and perception mechanism, and there have been attempts to define consonance that will be equally valid for every place and time. Studies that consider cultural relativism, as well as empirical studies discussing universal foundations of consonance, have also shown the importance of experience and acculturation, which has enabled recognition of the variable nature of consonance. Studies on traditional music cultures reveal that not only auditory consonance but also conceptual consonance is a culture-dependent phenomenon. Gamelan, which is often regarded as a dissonant music genre by Western observers, is an example of this because it shows the cultural relativity of consonance. In this context, this paper discusses the history, definitions, perceptual processes, and experimental and cultural approaches of the concept of consonance and the culture-specific structure of consonance and tune systems within the framework of the conceptual differences of gamelan music.
Keywords
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