Özet:

Japan, China and Korea, recognized as the leading countries of Eastern Asia in terms of their achievements in modernization, 20. Since the century they have begun to approach the Western powers in science and technology, and they have also undergone a significant transformation process towards their own cultures. The search for change in music they see as a symbol of the new ideology in this process has mostly moved from an autorientalist attitude based on the judgment of their own cultures from the eyes of the West, and the ideal of achieving the Western appearance has also shaped the definition and social appearance of music as much as the traditional music has changed. These countries, who experience modernization as relationships with each other, have also experienced different experiences, along with their common history, as a result of their own social and political events. However, the results of the modernization effort in music remained quite similar to these three countries and 19. The wave of özoryantism that they have been exposed from the century is the appearance of their own music cultures 21. It has continued to influence even in the century and has led to the internalization of Western music and the elements of this music in such a way that they will be part of local culture. In this context, in this article, the origin and evolution of modernization ideology in Eastern Asia and the reflections of this ideology in music are questioned within the framework of the concept of self-oriantalism, with the national music movements of Japan, China and Korea, which experience their own modernization experiences, the reform efforts towards traditional music, the new music ideals and the music education goals. The consequences of the wave of modernization emerging in music in the century will be discussed on these countries.

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