Power Dynamics in Music: Creative Power
This study, prepared with the assumption that the concept of power, which seems to be exclusively within the domain of political science, is omnipresent, aims to evaluate the elements of the creative power of the composer, considered the first step of the power dynamics within music, the most abstract of the arts. Document analysis was used as the data collection tool, and the data obtained were summarized and interpreted using descriptive analysis. The study, designed with a generating-theory pattern, is limited to the intrinsic power of music and the notions of creative power. First, the intrinsic power of music, which exists due to its significance for powers, is explained to contextualize the importance of music for powers; subsequently, the notion of creative power among the internal power dynamics is elucidated. The conclusion of the article reveals that creative power, attributed a divine status, has the capability to support or undermine political power in matters such as determining or changing culture—due to its ability to influence masses. It is concluded that creative power consolidates and perpetuates its authority by operating a mechanism of consent created through dynamics such as performers, orchestras, conductors, and political power for the manifestation of its power. Additionally, it continuously reminds its dominance and authority by creating the illusion of freedom among its subjects.
Müzikte İktidar Dinamikleri: Yaratıcı İktidar
Yalnızca siyaset biliminin tekelindeymiş gibi görülen iktidar kavramının her yerde olması varsayımı ile hazırlanmış bu çalışmada, sanatların en soyutu statüsündeki müzik içerisindeki iktidar dinamiklerinin birinci basamağı kabul edilen bestekârın yaratıcı iktidarının unsurlarının değerlendirilmesi amaçlanmıştır. Veri toplama aracı olarak doküman incelemesi kullanılmış, ardından edinilen veriler betimsel analiz ile özetlenip yorumlanmıştır. Kuram oluşturma deseni ile hazırlanmış olan çalışma, müziğin içkin iktidarı ve yaratıcı iktidar nosyonları ile sınırlı tutulmuştur. Akışta ilk olarak müziğin iktidarlar için öneminin anlamlandırılabilmesi sebebiyle müziğin varoluşundan sebep içkin iktidarı; ardından iç iktidar dinamiklerinden yaratıcı iktidar nosyonu açıklanmıştır. Makalenin sonucunda, ilahi bir statü atfedilen yaratıcı iktidarın, kültürün belirlenmesi veya değiştirilmesi gibi konularda – kitleleri etkileme gücü dolayısıyla – politik iktidarı destekleme veya iktidarını çıkmaza sokma gibi yetilere de sahip olduğu; iktidarının tecellisi için müziğin icracı, orkestra, şef ve politik iktidar gibi dinamikleri üzerinden yarattığı rıza mekanizmasını işleterek iktidarını pekiştirdiği ve daim kıldığı; muhataplarında özgürlük yanılgısı oluşturarak erkinin ve iktidarının durmaksızın hatırlatmasını yaptığı sonuçlarına ulaşılmıştır.
The concept of power has always been seen as referring to politics, and when power is mentioned, political power usually comes to mind. But in reality, power is everywhere. When we consider Michel Foucault’s paradox that knowledge produces power and power produces knowledge, the ubiquity of power gains even more significance. This study, which aims to investigate the power dynamics inherent in music—an art that is both highly abstract and potent in its influence—proceeds from this hypothesis and includes the composer, who is the creator of music, within its scope. Following document analysis used as the data collection tool, the information obtained is summarized and interpreted using descriptive analysis, one of the qualitative data analysis methods. Before moving on to the element of creative power belonging to the composer, which is one of the internal power dynamics of music, the intrinsic power of music—its inherent authority due to its existence and significance for powers—is explained to contextualize the importance of music for powers. Subsequently, the internal power dynamics and the notion of creative power are discussed. Based on the perspective of ideologues who have studied the philosophy of art and view art and music as tools for class struggle, the importance of art and music for political powers is expressed. In the phenomenon explained with two examples from Turkish music history, the reforms of the II. Mahmud period and the musical revolution of the Republic of Turkey period are discussed to illustrate the importance of music for political powers; in this reciprocal relationship, the significance of the power of music, due to its ability to influence masses, is emphasized.
At this point, the concept of patronage comes into play, positioning the composer, the creator of music, in an important role. Political powers enhance their own authority by materially and morally supporting composers. The composer, whom we refer to as holding creative power, is sometimes equated with God in some studies and interpreted as a reflection of God’s creativity in others. With this particular attribute, the composer gains respect in the social order and, through the power paradox he creates, manages to control the other elements of music. For example, the times when a performer feels free are only as much as the composer allows.
In this study, which focuses on the notion of power as a phenomenon related to the political economy and sociology of music, the creative power of the composer who produces music is discussed. In addition to the intrinsic power derived from the existence of music, the study addresses the power of the composer, the "creator" of music, and this power is termed creative power. This form of power, due to its ability to influence masses, has the capability to support or undermine political power in matters such as determining or changing culture. When examining the notion of creative power, it is observed that the source of authority is based on artistic creation, and at this point, it is sometimes equated with God in some studies and interpreted as a reflection of God’s creativity in others. Subsequently, it is seen that in order to manifest its power, creative power consolidates and perpetuates its authority by operating a mechanism of consent created through dynamics such as performers, orchestras, conductors, and political power. In both Turkish music and Western music practices, the composer continuously reminds his authority and power by creating the illusion of freedom among his subjects, much like political power does, through the power paradox he creates. Considering this feature, it is concluded that creative power is at the forefront of music; it is the sole instigator of the process that starts and ends with itself, and it perpetually declares that others can only be victorious to the extent that it desires.
