Musiki Inkilabi ve Rus Modeli: Karsilastirmali Müzik Sosyolojisi Açisindan Bir Tartisma/Turkish Music Reform and Russian Model: A Discussion from the Viewpoint of Comperative Music Sociology

Türk Musiki Inkilabi'nin Rus modelinden etkilendigi konusunda yaygin bir mutabakat vardir. Ne var ki, Rusya'da Bati sistemi içinde modern bir millÎ müzik yaratma çabalari çözüme kaynaklik ederken, Türkiye'de Osmanli müzigini dislayarak yepyeni bir millÎ müzik yaratma çabalari soruna ve krize kaynaklik etmistir. Bu makalede Osmanli müziginin dislanmasi çabalarindan ve Musiki Inkilabi'nin basarisizligindan yola çikarak, Rus ve Türk müzigindeki modernlesme deneyimleri arasinda sanildigi kadar benzerlik olmadigi gösterilmeye çalisilacak ve bu farkliligin müzik geleneklerinin spesifik özellikleri kadar iki toplumun toplumlararasi iliskilerde oynadigi farkli tarihsel rollerden kaynaklandigi savunulacaktir./It is widely accepted that Turkish music reform has been influenced by the Russian model. However, the Russian attempts of forming a modern national music within the Western musical tradition have represented a solution to the problems of Russian musicians, while the official attempts of forming a totally new Westernized national music in Turkey by excluding the Ottoman musical legacy have caused not only serious practical problems but also a deep identity crisis in itself. In this article, through analyzing both the making of the modern Russian music and the attempts of excluding the Ottoman musical legacy and resulting failure of Turkish music reform, I will try to show that there is not a great deal of similarity between the Russian and Turkish experiences of musical modernization. I will also argue that this dissimilarity stems from the different international-historical roles played by these two nations and the different specific characteristics of these two musical traditions as well.