Atıf Sayısı
6
Görüntüleme
65
İndirme
30
Müzik, evrensel bir dil olarak muhataplarına işitsel planda ve duyguları harekete geçirecek birtakım iletiler gönderir. Farklı lisanları anlamak için onları öğrenmek gerekir ancak müziğin dili, tüm insanlar tarafından kolayca algılanabilecek ve kavranabilecek bir yapıya sahiptir. Doğadaki seslerden, planlı dizgeler hâlinde kulaklara ulaşan notalara kadar müziğin izlediği yol, basit bir işitsel iletişimden çok daha fazlasıdır. Notaların ahenkli akışı ve edebiyatın sanatlı söyleyişinin bütünleşmesi ile müzik, bilişsel ve duyuşsal zeminde etkileri görülebilen bir araç hâline gelmektedir. Müziğin bu etkisi, onun eğitim alanında kullanımını da gündeme getirmiş ve kadim zamanlardan günümüze dek müziğin eğitsel gücü hep ilgi odağı olmuştur. Türk müzik tarihi içerisinde halk müziği eserleri dışarıda bırakıldığında, müziği ve şarkıları doğrudan eğitsel bağlamda kullanan sanatçılar arasında Barış Manço ismi ön plana çıkmaktadır. Barış Manço’nun müziği içerik düzleminde bir mesaj iletme aracı olarak görmesi, onun kullandığı bu tarzı incelenmeye değer kılmaktadır. Bu çalışmada, öncelikle değer, dinî değer ve ahlakî değer kavramları üzerinden değerler eğitiminde edebiyatın kullanımına değinilmiş sonra da müziğin eğitimde kullanımı, Barış Manço’nun müzik hayatı ve felsefesi üzerinden Barış Manço şarkılarında dinî ve ahlakî değer aktarımları tespit edilmeye çalışılmıştır.
Music is a universal language, which stimulates emotions via an auditory way. We may need to learn to understand different languages, but the language of music can be easily perceived by all people. From the sounds of nature to planned notes, the path of music is much more than a simple audio communication. Some methods of the past have become obsolete or forgotten. However, some methods, which are compatible with the ontological structure of mankind, have a power of influence and can be used especially in the field of education. The appeal of music to the affective field of man and its use in education as a value transfer method or supported by the cognitive dimension makes it important to focus on as a tool. This tool has been on the agenda of humanity for centuries. Many definitions have been constructed about what the concept of value is and many thoughts have been put forward about the difference between attitude and value, the subjective and objective dimensions of value. Religious values are the teachings of the good that God has entrusted upon humanity, being prone to good and communicating with the religion he sent normatively. Moral values are those that are accepted by selective systems in nature, which lead to harmonious happiness for all and are based on what is common to all humans. At the point where the concept of value meets with education, values education emerges. A curriculum of values education is formed within the formal and non-formal fields of education and an attempt is made to teach the students specified values and various educational tools. Literature is not just about texts, and cinema, theater, music, in short, literature is located at the base of many branches of art. It is important to consider the tools to be subjected to values education within the aesthetic framework of literature. The use of literature in values education and the formal or informal education in which it is applied in the field of education will be able to address more affective areas than the cognitive field. Additionally, with the introduction of different senses, the effect of education can be increased. When we consider the use of music in educational thought in antiquity, as well as research in the context of recent music and education, it can be seen that music is a means of education and it is a way of conveying messages to an affective dimension. In the context of cognitive music research and multiple intelligence practices, music will remain an effective tool in education. He is an artist who interpreted traditional sources in an original form in the history of Turkish music and used music effectively as a means of conveying messages, not only his music but also his life and costume. The aim of this study is to examine the religious and moral values of Peace Manço, who sang his songs from 7 to 77, in addition to his musical perspective. These songs, which can be considered as an informal education tool in the context of the use of music in education and affective learning areas, are treated within the dimension of education. He used religious and moral values in 40 of his 93 Turkish songs. This transfer represents a large proportion of 43%. It can be seen that 30 of the songs can be divided into two sociological branches as songs that appeal to the general public and 10 of the songs for children and young people. 17 of the songs that appeal to the general public have religious references and 13 of them have traditional references. In songs for children and young people, it is revealed that 2 songs of Manço appeal to children, 3 songs are performed together with children and adults and 5 songs are reached by young people on a traditional basis. The use of music as an informal form of education means that literature carries religious and moral values in his works in his aesthetic structure that addresses both children and adults. Mancho did not hesitate to include religious references in place of a sterile religion perception, but in a natural form as a cultural component of the content, not directly. Manço also used traditional references, proverb and idioms in the same or mostly deconstructed way and formed his own unique style of music through tradition. The songs have not been underestimated as children's songs, nor have they been found and met with indifference by the children. This style is not only limited to the textual plane of literature, but it also shows that the aesthetic and affective perspective of the successful use of his songs. It also works with a ability to appeal to all ages. Manço's messages were taken by a large part of society without any ideological perception and Manço has left a lasting impression in the social memory among the few people who have become a valuable part of a community surrounding him. It is seen that Peace Manço attach great importance to merging generations instead of an intergenerational distinction and giving importance to a unity through all segments of society, by the generations understanding each other, keeping traditions and values alive and transferring from one generation to another. It is understood that he carried out this mission even on the television programs he made, and with the text and music of his songs. This form, which Peace Manço tried and succeeded in effectively, should be re-enacted with the universal codes and over time with functions of music, as an instrument of affective education and as a method of value transfer to be part of an immanent educational approach to all segments of society.
Music is a universal language, which stimulates emotions via an auditory way. We may need to learn to understand different languages, but the language of music can be easily perceived by all people. From the sounds of nature to planned notes, the path of music path is much more than a simple audio communication. Some methods of the past have become obsolete or forgotten. However, some methods, that are compatible with the ontological structure of mankind, have a power of influence and can be used especially in the field of education. The appeal of music to the affective field of man and its use in education as a value transfer method or supported by the cognitive dimension make it important to focus on as a tool. This tool has been on the agenda of humanity for centuries. Many definitions have been constructed about what the concept of value is and many thoughts have been put forward about the difference between attitude and value, the subjective and objective dimensions of value. Religious values are the teachings of the good which God has bestowed upon humanity, being prone to good and communicating with the religion he sent normatively. Moral values are those that are accepted by selective systems in nature, which lead to harmonious happiness for all and are based on what is common to all humans. At the point where the concept of value meets with education, values education emerges. A curriculum of values education is formed within the formal and non-formal fields of education and an attempt is made to teach the students specified values and various educational tools. Literature is not just about texts, and cinema, theater, music, in short, literature is located at the base of many branches of art. It is important to consider the tools to be subjected to values education within the aesthetic framework of literature. The use of literature in values education and the formal or informal education in which it is applied in the field of education will be able to address more affective areas than the cognitive field. Additionally, with the introduction of different senses, the effect of education can be increased. When we consider the use of music in educational thought in antiquity, as well as research in the context of recent music and education, it can be seen that music is a means of education and it is a way of conveying messages to an affective dimension. In the context of cognitive music research and multiple intelligence practices, music will remain an effective tool in education. Barış Manço is an artist who interpreted traditional sources in an original form in the history of Turkish music and used music effectively as a means of conveying messages, not only his music but also his life and costume. The aim of this study is to examine the religious and moral values of Barış Manço, who sang his songs from 7 to 77, in addition to his musical perspective. These songs, which can be considered as an informal education tool in the context of the use of music in education and affective learning areas, are handled within the dimension of education. Barış Manço used religious and moral values in 40 of his 93 Turkish songs. This transfer represents a large proportion of 43%. It can be seen that 30 of the songs can be divided into two sociological branches as songs that appeal to the general public and 10 of the songs for children and young people. 17 of the songs that appeal to the general public have religious references and 13 of them have traditional references. In songs for children and young people, it is revealed that 2 songs of Manço appeal to children, 3 songs are performed together with children and adults and 5 songs are reached by young people on a traditional basis. Barış Manço’s use of music as an informal form of education means that literature carries religious and moral values in his works in his aesthetic structure that addresses both children and adults. Mancho did not hesitate to include religious references in place of a sterile religion perception, but in a natural form as a cultural component of the content, not directly. Manço also used traditional references, proverb and idioms in the same or mostly deconstructed way and formed his own unique style of music through tradition. The songs of Barış Manço have not been underestimated as children’s songs, nor have they been found and met with indifference by the children. This style is not only limited to the textual plane of literature, but it also shows that the aesthetic and affective perspective of the successful use of his songs. It also works with an ability to appeal to all ages. Manço’s messages were taken by a large part of society without any ideological perception and Manço has left a lasting impression in the social memory among the few people who have become a valuable part of a community surrounding him. It is seen that Barış Manço attaches great importance to merging generations instead of an intergenerational distinction and giving importance to a unity through all segments of society, by the generations understanding each other, keeping traditions and values alive and transferring from one generation to another. It is understood that he carried out this mission even on the television programs he made, and with the text and music of his songs. This form, which Barış Manço tried and succeeded in effectively, should be re-enacted with the universal codes and over time with functions of music, as an instrument of affective education and as a method of value transfer to be part of an immanent educational approach to all segments of society.
Alan : İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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