The effects and reflections of positivism on Turkish musicology

Musicology evolved throughout history in relation to various intellectual and academic paradigms and continued to develop as an interdisciplinary field of science. When music research is associated with historical, cultural, sociological, and philosophical fields, theoretical and methodological approaches necessary for "scientific knowledge" have always gained importance; this has played a decisive role in shaping the direction and development of musicology. Among these, the concept of "positivism," particularly systematized by Auguste Comte, has had a profound influence on the construction of musicology as a "modern" science. This approach became one of the most significant frameworks that shaped the theoretical foundation of Turkish musicology during the transition from the Ottoman Empire to the Republic. Positivism is based on the belief that "scientific knowledge" can only be achieved through empirical methods, and it rejects metaphysical and speculative ideas as unscientific. By emphasizing objectivity and measurability in scientific research, positivism has also played a determining role in the methodological analyses and theoretical framework of musicology. However, its strict focus on objectivity and the limitations it imposes on the scope of 'scientific knowledge' have been widely criticized for disregarding the cultural, social, and ideological dimensions of music. This thesis aims to explore the effects of the positivist paradigm on Turkish musicology from a multidimensional perspective. The first chapter introduces the concept of positivism and its historical development. The second chapter analyzes the effects of positivism on scientific thought and its political-ideological background. The third chapter discusses the manipulative influences of positivist understanding on knowledge and methodology. The fourth chapter focuses on how positivism contributed to the establishment of musicology as a "modern" discipline, emphasizing its role in defining music in terms of "scientificity." This section also addresses criticisms of the positivist paradigm within musicology and highlights the characteristics of "critical" or "new" musicology. The fifth chapter evaluates the direct impacts of positivism on Turkish musicology by analyzing the works of key figures such as Rauf Yekta, Mahmut Ragıp Gazimihal, and Gültekin Oransay, identifying traces of positivist methodology in their studies. It also examines positivist structures in contemporary Turkish musicology through academic departments, personnel, and course contents. The sixth chapter discusses the emergence of critical approaches within Turkish musicology, highlighting interdisciplinary contributions and the increasing importance of identity, culture, and diversity in musicological studies. Despite a growing body of critical literature, the thesis concludes that the positivist paradigm still maintains a dominant influence in Turkish musicology today.