Dokuma Park Antalya Music Museum concept proposal

Collecting is one of the oldest passions of man. The transformation of collecting into a modern museum on the other hand, is one of the longest processes in the history of civilization which had lasted more than two thousand years. The presence of old collections in the palaces of the great kings, mansions of the rich rulers and in the galleries of the glorious temples, often represented the wealth, supremacy and dignity. The new orientations of the Renaissance and Reformation movements led to the concerns of research and classification of those collections at first. Later on, these movements ensured the opening of the collections to the limited segment of the society -even if it was on the basis of increasing the prestige of the property owners by exhibiting their wealth- and thus the first steps of modern museology. As a result, the Age of Enlightenment has become a period when modern museums, which are defined as classical museums, have taken their roots. Then, in the 19th century, nationalization process of Europeans has completed and in this period the museum was given important tasks in this transformation and in the construction of the civilization. At the same time, certain classification and regulation principles were introduced within the framework of positivism and the structural and functional boundaries of the museum are determined. Classical museums were shaped in the course of the development of European civilization and they have met the expectations for a long time. However by the mid-20th century classical museums have undergone significant changes in the direction of the new orientations of civilization. That is to say; the elitist approaches and the object-oriented structures of the classical museums have been started to replace by education-oriented and strong- in terms of social interactions- museums. These attitudes have led to an expansion at the subjects of the museum and thus brought the intangible cultural heritage as a more interesting area for the museums. Thus, the concepts that the conception of social history dominates, such as offense, immigration, war, poverty, happiness and love have begun to take place alongside the usual subjects of the museums. The music, which had previously taken place in museums with its instruments and special artists, became one of the objectives of the museum as a stand-alone art with its social ties at this point. In terms of its long term existence both in tangible and intangible areas of the culture, music has already deserved to be the subject of the museum through its continuous accumulation, the cultural traces it carries, and by being an unique art in all societies, an universal and most popular art of our day. Indeed, since the end of 20th century, music is one of the most popular museum subjects in the world. This historical necessity of music museums should be supported by the fact that the time period that we are living in is rapidly destroying the local values. It can be said that a music museum will assume the functions of a city museum or an ethnography-folklore museum besides its basic functions such as protecting, researching and narrating information and documents related to the development, accumulation and interaction of music. And this is possible as long as the music is considered with its social relations, interactions and cultural ties. In sum, these requirements and approaches are the main factors that led to the emergence of Dokuma Park Antalya Music Museum Concept Proposal which is the subject of this study. If we look at world music museums, which are structured according to the concept of new museums that exhibit a more democratic, participatory mechanism than classical museums, put the education at the center and focus on social relations; we will see some important differences in their way of dealing with the music. A national music culture, overall music history, types of music such as jazz, pop, rock and classical or sometimes just the musical instruments constitutes the subject of the museum and as a matter of fact, this kind of delimitations and classifications are expectable and sometimes is necessary in museology. In this context, while DOPAMM emphasizes the general qualities of music art, it has focused on the local music culture of Antalya and all the detectable processes of this culture. In other words, all elements related to the existence of local music are the subject of the museum. Consequently, the musical elements in the local context were considered as a whole without considering the distinctive features such as types, period or ethnic belonging. The geography on the other hand, was the main criterion of this integrity. Nevertheless, even such an approach is not enough to obtain information about the periods of music which lasted thousands of years and which were lack of technologies for recordings and notes. That is why in the content of DOPAMM the musical data of recent periods are more intense. On the other hand, in the light of an obtained data, the most effective periods of Antalya, such as Antiquity, come into prominence even in the history of local music. The darkness of this long period when recording of music was not possible at all, however is tried to overcome by exploring the social functions and the places that music was performed. Thus, rather than answering the questions of how was the rhythmic and melodic qualifications of the music at that time, we tried to answer for what, where and for whom the music was produced at those times. Certainly it is not possible to find right answers for those questions without considering the social status and the interactions of the music. It can be said that this approach is also a reverse guide for the obscure of the music. From the 19th century we see the traces of the music on a local basis more concretely. The fundamental accumulation of music has obtained in this period via the places, artists, instruments, works, genres and features of music; namely via all elements involved in music culture. In this context, an important folk music repertoire had emerged. Another phenomenon which came into prominence while researching the local traces of music is that this art has undergone significant changes according to the political developments in the region. Naturally the orientations of these changes differ according to urban or rural areas. However, music as a cultural element has been reshaped both technically and functionally according to political, ethnic and religious superiorities. At the concept of DOPAMM, which is designed with the understanding of new museology, there are implementations similar to its contemporary world equivalents as well as distinctive units and exhibitions. In DOPAMM it is also aimed to create an education oriented mechanism with socially strong interactions. Scientific policies which will determine the establishment and operation of the museum are the elements that will ensure the functioning of the modern museum concept such as exhibitions that deal with music in both artistic and social dimensions, technological applications that will increase the influence and expression of these exhibitions, virtual museum, information-document archive which will form a music memory, research unit, studio, radio-television, instrument workshop, music workshop, orchestra, courses, concerts, etc. Dokuma Park is one of the new social and cultural projects of Antalya and it presents a structure where the DOPAMM can be easily placed with its location, texture, units and activities and with its position in the city identity. It is believed that the DOPAMM will provide a contribution to the quality of the Park. Besides, it will benefit from the various facilities of the park and by cooperating with the other units, it will also take part in a structure in which other world music museums stand with. Dokuma Park Antalya Music Museum will provide a great contribution to documenting the city's art and entertainment understanding with its contemporary museology principles, scientific policies and general fiction. Moreover, it will allow the local music culture to be documented, protected and investigated as accurately as possible. In this way, it will contribute to the protection of the local elements which are gradually disappearing in the globalized world. Finally, the institution, which will provide the opportunity for monitoring, learning and practicing and experience to the visitors and researchers at every level, aims to build a structure that accumulates through continuity and develops day by day.