Kadın Müzik Üreticiliğinde Beste Yapma Süreçlerinin Tasarımı Ve İzledikleri Stratejiler

Yayın Yılı: 2024
Sayfa Aralığı : 7-20
Kitap Dili : Türkçe

Anahtar Kelimeler


Throughout history, women have developed various strategies driven by the instinct to protect themselves. Holding on to work and home life and overcoming challenging processes has always been the work of women. The number of female musicians is increasing every day worldwide, yet the number of female composers remains much lower compared to musicians. Particularly in the 19th century, it can be seen as a strategy born out of the difficulties they faced that female composers used male names to perform and publicize their works, camouflaging themselves. This section aims to examine and determine how female composers design their music production processes, what kind of strategies they apply to process management and crisis management. The research involved semi-structured interviews with two female composers working in government institutions and two independent female composers. Purposeful sampling method was used to determine the sample group. In the qualitative research conducted, case study patterns were examined, and data were obtained through interviews about how female composers design their work production processes, how they manage the process, and the strategies they follow. Content analysis was conducted in line with the obtained data. When examining the research, it is emphasized that gender inequalities should be addressed in general. It points out the need to include the works of female composers in music education and performance and highlights the difficulties faced by women in the music industry while pursuing their careers as composers. The music industry can work to recognize and encourage the contributions of female composers, aiming for a more inclusive and diverse representation of musical creativity. In the 19th century, it is possible to say that the strategies produced by female composers, such as hiding their names, creating pseudonyms using male names, were transition strategies - camouflaging and adapting within society. It is thought that today’s female composers do not need to resort to such strategies due to feminist theory, women’s rights and agreements, and legal regulations. In the context of limited career progression, many female composers have spoken of feeling marginalized due to men’s prejudices, discredited, and often placed second in preference order. From this perspective, it is believed that the career advancement of women who stand strong and do not give up on producing works cannot be halted. It can be concluded that female composers preserve their social identities by either confronting their emotions alone or expressing them through their compositions. Participants have been found to comfortably define and position themselves. It would be accurate to say that the increase in the number of female composers, both nationally and internationally, is insufficient. In this context, incorporating topics related to female composers into university curricula and textbooks would be an appropriate practice for raising public awareness. Moreover, to address the scarcity of female composers, the number of composition quotas announced in Conservatories, Faculties of Fine Arts, and Education Faculties should be increased. The number of postgraduate programs offered in this field should be expanded, and course diversity should be ensured. Another important issue for achieving the desired level of increase is that relevant state institutions should provide necessary support for commissioning works from female composers during and after their student years, including repertoire inclusion, performance, recording, publishing, and re-performance of these works. In this regard, individuals in managerial positions within these institutions have significant responsibilities. A general assessment from the past to the present reveals that female composers have persevered despite challenging conditions and have, over time, made their presence known with a strong voice saying, ‘we are here too!’ Although contemporary female composers do not distinguish themselves as women or men when composing a piece, the reality that female composers’ creative characteristics are no different from men’s is not expected to be immediately embraced after millennia of patriarchal rule. The persistence of certain thought patterns and the determination of female composers to continue producing works “despite everything” should not be overlooked. The focus should not be on whether the composer is female or male, but rather on the works themselves.

Kitap Adı: Kadın Ve Tasarım-tasarım Süreçlerine Stratejik Bakış
Yayın Yılı: 2024
Sayfa Sayısı: 338
DOI: 10.37609/akya.337
Kitap Dili : Türkçe
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