Metalaşan ölüm: İstanbul Ermeni geleneğinde cenaze törenleri
Commoditized death: Traditional funeral ceramonies of İstanbul Armenians
Yazar: MARAL CİVANYAN
Danışman: PROF. SONGÜL KARAHASANOĞLU
İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü / Müzikoloji ve Müzik Teorisi Ana Bilim Dalı / Müzikoloji Bilim Dalı
Derece: Yüksek Lisans, 2020
Konu: Müzik = Music ; Sosyoloji = Sociology
Dizin: Cenaze törenleri = Funeral ceremony ; Dini müzik = Religious music ; Ermeniler = Armenians ; Gelenekler = Traditions ; Metalaşma = Commodization ; Modernizm = Modernism ; Müzik = Music ; Ritüel = Ritual ; Ölüm = Death ; İstanbul = Istanbul

Özet:
2017 yılından bu yana İstanbul'un altı farklı semtinde gerçekleştirilen alan çalışması İstanbul Ermeni geleneğinde cenaze törenlerini ölüm, ritüel ve ritüel müzik ilişkilenmeleri üzerine temellendirerek Karl Marx'ın "Kapital" çalışmasının temel yapı taşını oluşturan "meta" kavramından yola çıkarak cenaze müziğinin "meta"laşmasını odağına alır. Batılılaşma ile yani modernizm akımıyla Ermeni kutsal müziğinde karşılık bulan çoksesliliğin cenaze törenlerinde dini hiyerarşi eşliğinde sınıfsal bir uygulamaya tabi tutularak kadim aksanıyla geleneksel miyatsayn uygulamanın yanı sıra ayrı bir kategori edimi kazandığı görülmektedir. Buna göre, cenaze müziği iki farklı üsluba ayrılarak, düzenleme anlamına gelen garkatrutyun kilit sözcüğü ile örtülü bir ilişki halini alırken cenaze müziği pratikleri ile metalaşma görünürlük kazanmaktadır. Miyastayn düzenleme mugannilerin canlı ve a capella olarak icra ettikleri makamsal üslup en fazla iki papaz eşliğinde belli bir ücret aralığında gerçekleştirilmektedir. Çoksesli düzenlemelerde ise Batılı üsluba dayalı org çalgısı eşliğinde opera-şan tekniğiyle canlı olarak koro tarafından seslendirilen cenaze müziğinin çeşitlenebilen dini bir hiyerarşi ile ayrı fiyat aralığında seyrettiği görülmektedir. Buradan hareketle, miyatsayn üslup ekonomik doygunluğu yeterli olmayanların mecbur kaldıkları bir uygulamaya dönüşürken çokseslilik üst sınıfın satın alabildiği modernliğin, zenginliğin göstergesi olarak belirmektedir. Bunun yanı sıra bir diğer dualite ise mezarlık ve kilise ayinleri arasında ortaya çıktığı görülmektedir. Mezarlık ayinlerinde bir daneters ve iki tıbir eşliğinde makamsal ve canlı icra ile her kesim ve herkes için standart bir uygulama gerçekleştirilmekte. Başka bir söylemle, mezarlık ayinlerinde kilisenin aksine ne dini bir hiyerarşi ne de müzik pratiğinin sınıfsal bir uygulamaya tabi tutulmayarak otantisite kavramının 'eşitlik' ilkesiyle örtüştürldüğü görülmektedir. Miyatsayn üslubun değeri kadim vurgusuyla bağlanırken öte yandan ortaya çıkan ironi ile cenaze müziği uygulamalarında köylülüğün, yoksulluğun, geriliğin ifadesi şeklinde benimsenerek değersizlik kazanmakta. Anadolu Ermenileri'nde yaygın olmayan çoksesliliğin kentte bir anlatım biçimi olarak yerleşmesi batılılaşma yani modernizmle belirmektedir. Böylece şehirde yaşayan ve daha varlıklı olan Ermenilerin çoksesliği benimsemesinin batılılaşma, modernleşmenin aracı olarak sunuluyor olması bu bağlamda kendini diğerinden ayrıştırmasına, toplumdaki konumunu güçlendirirken Tanrı katında da daha kıymetli oluşuna aracı işlev kazandırılarak kontrol ediliyor olması da dikkat çekici unsurlardandır. Çoksesliliğin modernizm akımıyla Ermeni kilisesinde hayat buluşu ve akımın ideolojik boyutlarına içkin işleyişinde önemli bir yere sahip, kendisini kadim kökleri bulmaya adamış, otantikliğin sesi olarak nitelenen Gomidas Vartabed'in kutsal ana melodiyi çoksesli düzenleyerek 'milli entonasyon', 'milli kimlik' inşasında müziğin dili aracılığıyla estetize edilerek şehirliye sunulmuştu. Geçmişin izlerini taşıyan Ermeni kilise müziğinin modernleşmeyle 'yenileşmesi' ve bugünki kullanım ve işlevi arasında ortaya çıkan dualite ile 'yabancılaşmanın' açık bir göstergesi olarak söylenebilir. Bunlara ek olarak, araştırmanın temelini oluşturan ritüel, müzik ve ölüm ilişkilenmelerini multi disipliner bakış açılarından yararlanma suretiyle ölüm fenomeninin kültürü içinde kimliksel boyutundan evrensel değerine içkin boyutu da gözetilerek işlenmiştir.

Abstract:
This field study reserach funeral ceremonies in İstanbul Armenians tradition which is based on the relation between death, ritual and ritual music. Study conducted in six different districts of Istanbul since 2017. Garkatrutyun which means to organize in Armenian language while it becomes an implicit relationship with the keyword that focuses on classification and by this way it gains visibility as commodification in funeral music practices. Thus, study aims to compose theoretical scope by Karl Marx's well-known study "Capital" which constitutes the basic essence of "commodity" theory. While the human being is born into the belongings created in the world by breaking away from another belonging with his birth, he also creates the belongings he created throughout his life. So most things are shaped around belonging, changed and maybe demolished and rebuilt. The accent of belonging, which means home appears in the word –dun that situated in the otherword kerezmanadun (cemetery), is also evident in the Mertsetsa Yes i Turın Kerezmani holy hymn, which the deceased said in the tomb ritual and regarded as the hope of salvation. Such that, It is a hymn telling the joy of getting ready to enter the womb of the land where it was created. In the Armenian Christian faith, based on the philosophy of life emerging from death, the earth is symbolized by the phenomenon of the mother, referring to the afterlife, while on the other hand, the return to the inclusive, holding womb is metaphorically conveyed. In relation to this, it is seen that the words Uğargavorutyun (journey) and poğatrıvil (migration) have become expressions for Armenians as the journey migrated from belonging in the world to another metaphysical belonging. In the tradition of Istanbul Armenian funeral ceremonies, the gaps that occur with death are filled with rituals, melodic speeches and ritual music. In this context, while rituals are important markers of the cycles such as birth, baptism and funeral in Armenian Christianity, they function as a symbolic communication tool to form a collective under the roof of the church symbolizing the 'house of God', which means gathering, on the other hand, recording cultural memory and values, It learns, purifies, matures and transforms it through invocation and transmission.
In İstanbul Armenians tradition we encounter as a result of a classification which is two different style of funeral music practices as a option. It is seen that polyphony, which is reflected in Armenian sacred music with westernization, that is, modernism, has been subjected to a class practice in the funeral ceremonies accompanied by religious hierarchy and has gained a separate category act instead to applying traditional miyatsayn which its ancient accent. The arrangement of miyastayn is performed within a certain wage range, accompanied by a maximum of two priests with mugannis who is called in Armenian language tıbir in the monophonic traditional style (maqam style) as a cappella as live performance. In polyphonic arrangements, it is seen that the funeral music performed live by the choir with the opera-singing technique accompanied by the organ instrument based on the Western style is watched in a different price range with a diverse religious hierarchy. From this point of view, miyatsayn style turns into a practice that is obliged by those whose economic situation is insufficient, while polyphony appears as the indicator of modernity and wealth that the upper class can buy. Additionally, polyphony style music in the community attributed more "artful" in other words valuable then monophonic traditional funeral music. Behind this thought, it extends significant historical events as "modernism". In the 19th century, arguments was rising that ancient traditonal sacred music was corrupted and against this music polyphony was gaining more attention. The invention of polyphony in the Armenian church with the modernism movement has an important place in the functioning of the movement inherent to its ideological dimensions, committed to finding ancient roots, Gomidas Vartabed, who was described as the voice of authenticity, arranged the sacred main melody in a polyphonic style, and "national intonation" was aesthetized through the language of music in the construction of "national identity" and presented to the city dwellers. The idea that aims to purify the elements that it characterizes as foreign in the construction of the 'self', departed from the philosophy of contemporary civilization, which is also emulated with an ironic approach. By means of the approach bearing the understanding that "Western culture is the most correct", polyphony was realized in Armenian sacred music, thus replacing what was lost.
Another duality appears to occur between cemetery and church rites. In the cemetery rites, a standard practice is carried out for every class and everyone, with miyatsayn and live performance accompanied by a danerets and two mugannis. In other words, unlike the church in cemetery rites, it is seen that neither a religious hierarchy nor a musical practice is subjected to a class application, and the concept of authenticity coincides with the principle of 'equality'. While the value of the miyatsayn style is connected with its ancient emphasis, on the other hand, with the irony that emerges, it is adopted as an expression of peasantry, poverty and backwardness in funeral music practices and gains 'worthlessness'. As just mentioned the settlement of polyphony, which is not common in Anatolian Armenians, as a form of expression in the city appears with westernization, that is, modernism. Thus, Armenians living in the city and who are more affluent interiorize polyphony is presented as a tool of westernization and modernization, in this context, differentiate themselves from the other, strengthen their position in the society and control their being more valuable in the eyes of God by giving them an intermediary function. In the 16th and 17th centuries, the terms 'hodja' and 'chelebi' were titles given to wealthy and influential individuals, and merchants of the period played an important role in commercial contacts with the West. After the second half of the 18th century, the great merchants began to be called 'amira' such that while the amiraes had a say in the functioning and issues of the church, the patriarchate, they were in a position to put pressure on the patriarchate by increasing their power and reputation in the 19th century. In the Istanbul Armenian funerals, under the shadow of an unchanging understanding, the Patriarch of the period demanded that polyphonic music be subjected to a separate category and this time gained expression with the words 'bourgeois' or 'elites', and the way to become commoditized was paved. The settlement of Anatolian people who migrated from their lands and clustered in certain districts in İstanbul and were not accepted by a certain section of the community for these reasons, the establishment of polyphony, which is not seen in Anatolian Armenians, as a form of expression also suggests that it functions as the reinforcer of wealth, status and modernity.
In the process, polyphonic sacred music turned into a commodity in the funeral ceremonies with becoming as a capitalist product. This attitude caused to sense of estrangement through by music. In addition, in this study , tried to processed by universal valeu beyond specific identity of the phenomenon of death , with taking advantage of multi-disciplinary perspectives.