{"id":1685,"date":"2020-04-15T00:51:13","date_gmt":"2020-04-14T21:51:13","guid":{"rendered":"http:\/\/www.tpocg.org\/blog\/?p=1685"},"modified":"2020-04-15T00:51:48","modified_gmt":"2020-04-14T21:51:48","slug":"huznun-mutlu-eden-hali-huzunlu-muzikler","status":"publish","type":"post","link":"http:\/\/www.tpocg.org\/blog\/huznun-mutlu-eden-hali-huzunlu-muzikler","title":{"rendered":"H\u00dcZN\u00dcN MUTLU EDEN HAL\u0130 : H\u00dcZ\u00dcNL\u00dc M\u00dcZ\u0130KLER"},"content":{"rendered":"\n<p><strong>Hey Jude, daha da k\u00f6t\u00fcle\u015ftirme durumu.<\/strong><\/p>\n\n\n\n<p><strong>H\u00fcz\u00fcnl\u00fc bir \u015fark\u0131 tuttur ve durumu d\u00fczeltiver.<\/strong><\/p>\n\n\n\n<p>&nbsp;The Beatles grubuna ait 1968\u2019de yay\u0131nlanm\u0131\u015f \u201cHey Jude\u201d par\u00e7as\u0131ndan bir b\u00f6l\u00fcm. 1968 y\u0131l\u0131ndan beri Jude d\u0131\u015f\u0131nda bu tavsiyeye kulak veren insan say\u0131s\u0131 az\u0131msanacak kadar de\u011fil.<\/p>\n\n\n\n<p>M\u00fczik ve onun bireyde ki etkisi \u00fczerine \u00e7al\u0131\u015fmalar 1900\u2019lerin ba\u015f\u0131na kadar dayanmakta. H\u00fcz\u00fcnl\u00fc hatta depresif \u015fark\u0131lar\u0131n ise insanlar\u0131 ho\u015fnut etmesi, ki\u015fisel refah\u0131n kayna\u011f\u0131 olarak mutlulu\u011fa dair g\u00fc\u00e7l\u00fc ve pop\u00fcler vurgu g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda bir paradoks g\u00f6z\u00fcyle bak\u0131lmakta. Son y\u0131llarda yap\u0131lan bir ka\u00e7 \u00e7al\u0131\u015fma bu paradoksu a\u00e7\u0131kl\u0131yor.<\/p>\n\n\n\n<p><strong>Neden insanlar m\u00fczikte h\u00fczn\u00fc arar?<\/strong><\/p>\n\n\n\n<p>H\u00fcz\u00fcnl\u00fc m\u00fczi\u011fin \u00f6d\u00fcl taraf\u0131n\u0131 inceleyen bir ara\u015ft\u0131rma sonucuna g\u00f6re h\u00fcz\u00fcnl\u00fc m\u00fczi\u011fin dinleyici i\u00e7in d\u00f6rt temel \u00f6d\u00fcl\u00fc var. Bu \u00f6d\u00fcllere ula\u015fma \u00e7abas\u0131 h\u00fczn\u00fc m\u00fczikte aratan \u015feylerdir.<\/p>\n\n\n\n<p>1- Hayalg\u00fcc\u00fc \u00d6d\u00fcl\u00fc: M\u00fczi\u011fin zenginli\u011fi ve sponteneli\u011fine sahip olma d\u00fc\u015f\u00fc. Daha a\u00e7\u0131k bir tan\u0131mla m\u00fczi\u011fin dinlerken verdi\u011fi bo\u015flukta olma, s\u00fcz\u00fclme, dalgalanma vb gibi hayal g\u00fcc\u00fcne dayal\u0131 hislerin verdi\u011fi zevk.<\/p>\n\n\n\n<p>2- Duygu D\u00fczenleme \u00d6d\u00fcl\u00fc: Ruh halini g\u00fc\u00e7lendirme, duygular\u0131n d\u0131\u015fa vurumu gibi farkl\u0131 \u00f6z-d\u00fczenleme ama\u00e7lar\u0131n\u0131n ba\u015far\u0131lmas\u0131ndan elde edilen zevk.<\/p>\n\n\n\n<p>3- Empati \u00d6d\u00fcl\u00fc: M\u00fczik taraf\u0131ndan tasvir edilen ba\u015fkas\u0131n\u0131n, \u00f6rne\u011fin bestecinin h\u00fczn\u00fcn\u00fc payla\u015fman\u0131n verdi\u011fi ho\u015f etki.<\/p>\n\n\n\n<p>4- Ger\u00e7ek Hayat \u00c7\u0131kar\u0131m\u0131n\u0131n Olmamas\u0131 \u00d6d\u00fcl\u00fc: Ger\u00e7ek hayatta tecr\u00fcbe etmedi\u011fimiz \u00fcz\u00fcc\u00fc bir olay\u0131n hissini m\u00fczik sayesinde hissetmenin ve o hissi anlaman\u0131n verdi\u011fi zevk.<\/p>\n\n\n\n<p>Bunlara ek olarak \u00e7o\u011fu insan i\u00e7in, g\u00fcndelik ya\u015famda h\u00fcz\u00fcnl\u00fc m\u00fczi\u011fe olan ilginin, olumsuz duygu durumlar\u0131 ve duygular\u0131 d\u00fczenlemenin yan\u0131 s\u0131ra teselli sa\u011flamas\u0131 ile ili\u015fkili oldu\u011funu vurgulamaktad\u0131r.<\/p>\n\n\n\n<p><strong>Neden m\u00fczik h\u00fczn\u00fc i\u00e7erir?<\/strong><\/p>\n\n\n\n<p>Asl\u0131nda bunu t\u00fcm sanat alanlar\u0131 i\u00e7in sorabiliriz. Olumsuz duygular\u0131n dikkati, yo\u011fun duygusal kat\u0131l\u0131m\u0131 ve y\u00fcksek hat\u0131rlanabilirli\u011fi sa\u011flamadaki g\u00fc\u00e7l\u00fc etkisi, asl\u0131nda tam da sanat eserlerinin etki amac\u0131d\u0131r. Hatta bir ara\u015ft\u0131rma sanat\u0131n negatif duygular i\u00e7ermekten \u00f6te asl\u0131nda negatif duygular\u0131 direkt sanat\u0131n kayna\u011f\u0131 olarak g\u00f6stermekte. Buna ek olarak sanat\u0131 icra eden insan\u0131n kendi duygular\u0131n\u0131 sanat\u0131yla d\u0131\u015fa vurmak istemesi de bir \u00e7ok h\u00fcz\u00fcnl\u00fc sanat eserinin ortaya \u00e7\u0131kmas\u0131na sebep olmu\u015ftur.<\/p>\n\n\n\n<p><strong>Neden \u00fczg\u00fcn hissederken h\u00fcz\u00fcnl\u00fc m\u00fczikler dinlemek isteriz?<\/strong><\/p>\n\n\n\n<p>&nbsp;Ara\u015ft\u0131rmalar duygusal olarak iyi olmak i\u00e7in kendini d\u00fczenleme becerisinin gerekli oldu\u011funu g\u00f6stermektedir. Duygusal olarak, \u00f6z-d\u00fczenleme, \u00fcz\u00fcld\u00fc\u011f\u00fcn\u00fczde kendinizi sakinle\u015ftirme ve kendinizi ne\u015felendirme yetene\u011fidir. \u00d6z d\u00fczenleme, duygulardan ziyade en derin de\u011ferlere odaklanmay\u0131 gerektirir.<\/p>\n\n\n\n<p>\u00dczg\u00fcnken h\u00fcz\u00fcnl\u00fc m\u00fczik dinlemenin, \u00f6z d\u00fczenlemeye katk\u0131s\u0131 olmas\u0131 ve etkileri bizi g\u00fcd\u00fcsel olarak dinlemeye itmektedir. H\u00fcz\u00fcnl\u00fc m\u00fczi\u011fin bu etkileri; durum de\u011ferlendirmesi, dikkati da\u011f\u0131tma, an\u0131lar\u0131 hat\u0131rlatma, hisleri yeniden deneyimleme olabilir. Ara\u015ft\u0131rmaya kat\u0131lan \u00e7o\u011fu kat\u0131l\u0131mc\u0131, \u00fczg\u00fcn hissettikleri zaman h\u00fcz\u00fcnl\u00fc m\u00fczik dinlemenin bazen olumsuz bir \u015feyle ba\u015f etmenin etkili bir yolu olarak kullan\u0131labilece\u011fini belirtmi\u015flerdir.<\/p>\n\n\n\n<p>&nbsp;\u0130nsanlar\u0131n m\u00fczik se\u00e7erken kulland\u0131klar\u0131 farkl\u0131 stratejiler, \u00f6rne\u011fin an\u0131 tetikleme ama\u00e7l\u0131, y\u00fcksek estetik de\u011ferli, mesaj i\u00e7eren m\u00fczik gibi; \u00f6z d\u00fczenleme etkileri ile ba\u011flant\u0131l\u0131 olarak farkl\u0131 kombinasyonlarla dinlemenin amac\u0131na hizmet etmektedir.<\/p>\n\n\n\n<p>\u00d6rnek vermek gerekirse; bir h\u00fcz\u00fcnl\u00fc m\u00fczik \u00f6z d\u00fczenleme etkisi olarak \u201can\u0131lar\u0131 hat\u0131rlatma\u201d, \u201can\u0131 tetikleme\u201d stratejisiyle birle\u015fip bizim m\u00fczik se\u00e7imimizi belirler.<\/p>\n\n\n\n<p><strong>Neden h\u00fcz\u00fcnl\u00fc m\u00fczik iyi hissettirir?<\/strong><\/p>\n\n\n\n<p><strong>Alg\u0131lanan ve Hissedilen<\/strong><\/p>\n\n\n\n<p>\u00d6ncelikle \u015fu ayr\u0131m\u0131 belirtmeliyim, alg\u0131lanan (percieved) duygu m\u00fczi\u011fin ifade etti\u011fi duygu; hissedilen (felt) duygu m\u00fczi\u011fin kar\u015f\u0131s\u0131nda bizim hissetti\u011fimiz duygudur. H\u00fcz\u00fcnl\u00fc m\u00fczi\u011fin zevk vermesi alg\u0131lanan ve hissedilen duygu aras\u0131ndaki z\u0131tl\u0131\u011f\u0131 olu\u015fturur. Ara\u015ft\u0131rmada h\u00fcz\u00fcnl\u00fc m\u00fczik dinleyen kat\u0131l\u0131mc\u0131lar\u0131n hissettikleri h\u00fcz\u00fcn, alg\u0131lanan h\u00fcz\u00fcnden az oldu\u011funu, hissedilen h\u00fczne ek olarak ho\u015f duygular\u0131n hissedildi\u011fini ve bunun ise alg\u0131lanandan fazla olu\u011fu bulmu\u015ftur. Bu z\u0131tl\u0131k asl\u0131nda bizi direkt h\u00fcz\u00fcnl\u00fc ya da keyifliden \u00e7ok arada kalan bir kar\u0131\u015f\u0131k-karars\u0131z duygu durumuna sokuyor ama her iki duyguyu da hissedebiliyor oldu\u011fumuzdan \u00f6t\u00fcr\u00fc memnun kal\u0131yoruz.<\/p>\n\n\n\n<p><strong>Tatl\u0131 Beklenti<\/strong><\/p>\n\n\n\n<p>&nbsp;Bir m\u00fczikal beklenti teorisine g\u00f6re dinleyiciler; m\u00fczi\u011fin devam etmesiyle ilgili beklentilerinin ihlali, gecikmesi ya da onaylanmas\u0131 nedeniyle m\u00fczikte duyguyu hissederler. E\u011fer dinleyicilerin bekledi\u011fi ses duyulursa, bu sayede beklentileri do\u011frulan\u0131rsa, dinleyiciler bu s\u00fcre\u00e7 sonucunda olumlu duygular (tatl\u0131 beklenti) ya\u015farlar. Dinleyiciler h\u00fcz\u00fcnl\u00fc m\u00fczik dinlerken olumsuz duygulara maruz kalsalar bile tatl\u0131 beklenti dinleyicilerin olumlu duygular hissetmelerine izin verebilir.<\/p>\n\n\n\n<p><strong>M\u00fczi\u011fi Sanat Kavram\u0131 A\u00e7\u0131s\u0131ndan Ele Almak<\/strong><\/p>\n\n\n\n<p>&nbsp;Bir psikolog olan Richard Lazarus\u2019a g\u00f6re insanlar duygular\u0131n\u0131 deneyimlemek i\u00e7in kendi durumlar\u0131n\u0131 anlayabilmelidir. \u00d6rne\u011fin bir k\u00f6pek havlad\u0131\u011f\u0131nda korkuyu hissetmekten \u00f6nce k\u00f6pe\u011fin havlamas\u0131n\u0131n bizim i\u00e7in korkutucu oldu\u011funu anl\u0131yor olmam\u0131z gerek. M\u00fczikal a\u00e7\u0131dan ele al\u0131rsak, bir m\u00fczik h\u00fcz\u00fcnl\u00fc de olsa keyif verici de olsa bir duygunun m\u00fczikle birle\u015fip bunu estetik halde sunuldu\u011funu anlamak bize ho\u015fnutluk duygusu hissettiriyor. Buna ek olarak sanattan zevk alman\u0131n \u00f6d\u00fcllendirici etkisi de bizim iyi hissetmemizin bir nedeni olabilir.<\/p>\n\n\n\n<p><strong>Sanat\u0131n \u0130\u00e7indeki Duygular<\/strong><\/p>\n\n\n\n<p>Sanat ba\u011flam\u0131nda duygu uyand\u0131rma s\u00fcre\u00e7leri g\u00fcnl\u00fck duygulardan farkl\u0131d\u0131r. Asl\u0131nda, h\u00fcz\u00fcnl\u00fc m\u00fczik dinlerken ya\u015fad\u0131\u011f\u0131m\u0131z \u00fcz\u00fcnt\u00fc g\u00fcnl\u00fck hayat\u0131m\u0131zda ya\u015fad\u0131\u011f\u0131m\u0131zdan farkl\u0131 olabilir. Arada ki fark, g\u00fcnl\u00fck hayatta bireyi \u00fczen nesne veya durumla bireyin do\u011frudan etkile\u015fim i\u00e7inde olmas\u0131; m\u00fczik dinlerken ise birey m\u00fczi\u011fin temsil etti\u011fi duygular\u0131n tehlikesine kar\u015f\u0131 g\u00fcvendedir, ortada bireyin \u00fcz\u00fclmesini gerektirecek m\u00fczik d\u0131\u015f\u0131nda somut bir olay yoktur. Aksine m\u00fczi\u011fi icra eden insana, ayn\u0131 hissiyat\u0131 payla\u015fmaktan \u00f6t\u00fcr\u00fc duyulan sempati m\u00fczi\u011fin bize hissettirdiklerinden zevk almam\u0131za sebep olur.<\/p>\n\n\n\n<p><strong>Empati<\/strong><\/p>\n\n\n\n<p>Empati bilinen tan\u0131m\u0131n\u0131n yan\u0131nda bireyin di\u011fer insanlar\u0131n g\u00f6zlemlenebilir deneyimlerine (\u00f6zellikle negatif) kar\u015f\u0131 tutumsal bir duyarl\u0131l\u0131kt\u0131r. Empati kabiliyeti insandan insana de\u011fi\u015fiklik g\u00f6sterirken bu de\u011fi\u015fikli\u011fin \u00f6l\u00e7\u00fcm\u00fc i\u00e7in geli\u015ftirilen test, empatinin bize d\u00f6rt alt bile\u015fenini sunar.<\/p>\n\n\n\n<p><em>Perspektif Alma (Perspective Taking (PT)) <\/em>alt \u00f6l\u00e7e\u011fi, g\u00fcnl\u00fck ya\u015famda di\u011fer insanlar\u0131n perspektiflerini alabilme e\u011filimlerini;<\/p>\n\n\n\n<p><em>Fantezi (Fantasy (FS))<\/em> alt \u00f6l\u00e7e\u011fi, bir hikaye, oyun veya romandaki karakterlerin eylem ve duygular\u0131n\u0131n i\u00e7ine ki\u015finin kendini koyabilme e\u011filimini;<\/p>\n\n\n\n<p><em>Empatik \u0130lgi (Empathic Concern (EC)) <\/em>alt \u00f6l\u00e7e\u011fi, di\u011fer insanlar i\u00e7in ilgi ve s\u0131cakl\u0131k hissetme e\u011filimini;<\/p>\n\n\n\n<p><em>Ki\u015fisel S\u0131k\u0131nt\u0131 (Personal Distress(PD))<\/em>alt \u00f6l\u00e7e\u011fi, ki\u015finin ihtiya\u00e7 i\u00e7indeki di\u011ferini g\u00f6zlemesine ba\u011fl\u0131 olarak ya\u015fad\u0131\u011f\u0131 s\u0131k\u0131nt\u0131 ve rahats\u0131zl\u0131\u011f\u0131 gibi tipik duygusal tepki e\u011filimlerini \u00f6l\u00e7mektedir.<\/p>\n\n\n\n<p>Empati karakteristi\u011finin, h\u00fcz\u00fcnl\u00fc m\u00fczik taraf\u0131ndan uyand\u0131r\u0131lan duyguya ve tercihine olan etkisiyle ilgili yap\u0131lan \u00e7al\u0131\u015fma da empati alt bile\u015fenleri ile&nbsp; \u201c<em>h\u00fcz\u00fcnl\u00fc m\u00fczi\u011fi sevme<\/em>\u201d, \u201c<em>m\u00fczi\u011fe verilen duygusal tepki<\/em>\u201d ve \u201c<em>m\u00fczik tercihi<\/em>\u201d aras\u0131nda \u00e7e\u015fitli pozitif korelasyonlar ve direk ili\u015fkiler buldu.<\/p>\n\n\n\n<p>Kat\u0131l\u0131mc\u0131lar\u0131n h\u00fcz\u00fcnl\u00fc m\u00fczi\u011fe verdi\u011fi huzurlu, nostaljik ,kasvetli vb gibi belirtti\u011fi 43 duygusal farkl\u0131 tepki, 3 ana ba\u015fl\u0131\u011fa b\u00f6l\u00fcn\u00fcp grupland\u0131r\u0131l\u0131yor. Bu \u00fc\u00e7 duygu grubu <em>ho\u015f duygular<\/em>,<em> trajik duygular <\/em>ve <em>co\u015fkulu duygular<\/em>. <em>Ho\u015f Duygular\u0131n <\/em>say\u0131s\u0131 di\u011ferlerine oranla daha fazla \u00e7\u0131k\u0131yor. PT alt bile\u015fenin bu \u00fc\u00e7 grupla pozitif korelasyonu oldu\u011fu bulunmu\u015f, yani <em>perspektif alma<\/em> yetene\u011fi h\u00fcz\u00fcnl\u00fc <em>m\u00fczi\u011fe verilen duygusal tepkiyi<\/em> etkiliyor.<\/p>\n\n\n\n<p>FS alt bile\u015feninin ise <em>h\u00fcz\u00fcnl\u00fc m\u00fczi\u011fi sevmekle<\/em> do\u011frudan ba\u011flant\u0131s\u0131 oldu\u011funu bulmu\u015flard\u0131r. Bu ba\u011flant\u0131 pozitif <em>duygusal tepkiye<\/em> de katk\u0131da bulunuyor, pozitif duygusal tepki ise <em>m\u00fczik tercihini<\/em> ve bunun derecesini etkiliyor. Aralar\u0131nda do\u011fru orant\u0131l\u0131 bir ili\u015fki var.<\/p>\n\n\n\n<p><strong>Duygulanmak<\/strong><\/p>\n\n\n\n<p>T\u00fcrk\u00e7eye en yak\u0131n \u00e7evirisi duygulanmak, hislenmek olan ingilizce hali ile \u201cbeing moved\u201d.<\/p>\n\n\n\n<p>Hem iyi hem k\u00f6t\u00fc bir olay kar\u015f\u0131s\u0131nda ya\u015fanabilecek, insan\u0131n elinde olmadan ger\u00e7ekle\u015fen ruh hali.<\/p>\n\n\n\n<p>Bu <em>duygulanma<\/em> hissi ve m\u00fczik ile ilgili yap\u0131lan iki ara\u015ft\u0131rmadan bahsedece\u011fim ki biri empati hakk\u0131nda yap\u0131lan ara\u015ft\u0131rma ile ba\u011flant\u0131l\u0131.<\/p>\n\n\n\n<p>\u0130lk ara\u015ft\u0131rma h\u00fcz\u00fcnl\u00fc m\u00fczikten \u00f6t\u00fcr\u00fc duygulanman\u0131n, empati ile ili\u015fkisi \u00fczerine. Kat\u0131l\u0131mc\u0131lar\u0131n m\u00fczi\u011fi dinledikten \u00f6ncesi, sonras\u0131, hissedilen ve alg\u0131lanan his, hissin yo\u011funlu\u011fu ve m\u00fczi\u011fi s\u0131fatland\u0131rma gibi \u00e7e\u015fitli a\u00e7\u0131lardan de\u011ferlendirilmesi sonucunda; ara\u015ft\u0131rmac\u0131lar t\u00fcm de\u011ferlendirilmelerden elde edilen duygusal tepkileri \u00fc\u00e7 de\u011fi\u015fken \u015feklinde karakterize ediyor.<\/p>\n\n\n\n<p>Bunlar; duyguland\u0131r\u0131c\u0131 \u00fcz\u00fcnt\u00fc (moving sadness), rahatlat\u0131c\u0131 \u00fcz\u00fcnt\u00fc (relaxing sadness) ve endi\u015feli \u00fcz\u00fcnt\u00fc (nervous sadness).<\/p>\n\n\n\n<p>&nbsp;Ara\u015ft\u0131rma \u00f6zellikle duyguland\u0131r\u0131c\u0131 \u00fcz\u00fcnt\u00fc olarak tan\u0131mlad\u0131klar\u0131, hem estetik hem de zevkli duygular\u0131 ve \u00fczg\u00fcn hissetmeyi i\u00e7eren karma\u015f\u0131k ve yo\u011fun duygusal deneyimin \u00fcst\u00fcnde durmu\u015flard\u0131r. Empati ve duygusal bula\u015fma &#8211; ba\u015fkalar\u0131n\u0131n ruh halinden ve duygular\u0131ndan etkilenerek, onlar\u0131nkine benzer hissiyatta olma e\u011filimi-&nbsp; duyguland\u0131r\u0131c\u0131 \u00fcz\u00fcnt\u00fc ile g\u00fc\u00e7l\u00fc bir \u015fekilde ili\u015fkisi oldu\u011fu bulunmu\u015f. \u015e\u00f6yle ki, empatik karakteristlik (\u00f6zellikle FS) ve duygusal bula\u015fmaya duyarl\u0131l\u0131k g\u00f6steren ki\u015filerin veya \u015feylerin, duyguland\u0131r\u0131c\u0131 \u00fcz\u00fcnt\u00fcy\u00fc deneyimlemesi veya deneyimletmesi olas\u0131d\u0131r.<\/p>\n\n\n\n<p>&nbsp;K\u0131saca ara\u015ft\u0131rma sonucuna g\u00f6re h\u00fcz\u00fcnl\u00fc m\u00fczi\u011fe tepki olarak deneyimlenen empatik duygu, sadece h\u00fcz\u00fcn de\u011fil; duygulanma, h\u00fcz\u00fcn ve e\u011flencenin bir kar\u0131\u015f\u0131m\u0131d\u0131r.<\/p>\n\n\n\n<p>\u0130kinci ara\u015ft\u0131rma h\u00fcz\u00fcnl\u00fc filmlerle yap\u0131lm\u0131\u015f \u00e7al\u0131\u015fman\u0131n sonucunun m\u00fczikte de ayn\u0131 sonucu verip vermeyece\u011fiyle ilgili. Filmle ilgili ara\u015ft\u0131rmada h\u00fcz\u00fcnl\u00fc hissetmenin ve zevk alman\u0131n aras\u0131nda ki pozitif ili\u015fkinin tamamen duygulanman\u0131n vas\u0131tas\u0131yla&nbsp; ger\u00e7ekle\u015fti\u011fini bulmu\u015flard\u0131r. Duygulanmaya sebep olan olaylar\u0131n veya \u015feylerin genelde ki\u015finin sosyal norm ve kendi idealleri&nbsp; ile uyum i\u00e7inde olmas\u0131 ve duygulanman\u0131n sosyal ba\u011flar\u0131n ve sosyal davran\u0131\u015flar\u0131n de\u011ferini tetikleyerek, bir sosyal ba\u011flanma i\u015flevi sa\u011flamas\u0131; film ara\u015ft\u0131rmas\u0131na kat\u0131lan kat\u0131l\u0131mc\u0131lar\u0131n duygusal tepki olarak s\u0131k s\u0131k empatik kelimeleri kullanmas\u0131 da g\u00f6z \u00f6n\u00fcnde al\u0131narak empati gibi sosyal duyarl\u0131l\u0131k merkezli duygunun duygulanmay\u0131 deneyimlemeye yatk\u0131nla\u015ft\u0131raca\u011f\u0131n\u0131 s\u00f6yl\u00fcyor.<\/p>\n\n\n\n<p>Ara\u015ft\u0131rmac\u0131lar deneylerin sonucunda film ara\u015ft\u0131rmas\u0131yla ayn\u0131 sonuca ula\u015fm\u0131\u015flard\u0131r. H\u00fcz\u00fcn hissinin asl\u0131nda duygulanmay\u0131 do\u011frudan yo\u011funla\u015ft\u0131rarak h\u00fcz\u00fcnl\u00fc m\u00fczikten zevk almas\u0131na katk\u0131da bulundu\u011funu ve b\u00f6ylece h\u00fczn\u00fcn kendi ba\u015f\u0131na bir zevk kayna\u011f\u0131 olarak g\u00f6r\u00fclebilece\u011fini savunuluyor. M\u00fczi\u011fin sanal ki\u015filerin anlat\u0131lar\u0131 olarak alg\u0131lanmas\u0131 -ki bu FS\u2019nin rol\u00fcn\u00fcn b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc a\u00e7\u0131kl\u0131yor- , ve m\u00fczi\u011fin direkt sosyal-ili\u015fkisel gayelerle ileti\u015fim kurmas\u0131; dinleyicinin h\u00fcz\u00fcnl\u00fc m\u00fczik dinlerken duygulanma deneyimini sosyal gayelerle bir ileti\u015fim kurar gibi alg\u0131lanmas\u0131 ve bunu bir sosyal etkile\u015fim bi\u00e7imi -empati- halini almas\u0131 ara\u015ft\u0131rmac\u0131lar\u0131n vard\u0131\u011f\u0131 sonu\u00e7lardan.<\/p>\n\n\n\n<p><strong>N\u00f6ropsikolojik A\u00e7\u0131dan H\u00fcz\u00fcnl\u00fc M\u00fczikten Zevk Almak<\/strong><\/p>\n\n\n\n<p>Ohio Eyaleti M\u00fczik Okulu&#8217;nda profes\u00f6r olan David Huron, makalesinde &#8221;hormon prolaktinin d\u00fczeylerinin h\u00fcz\u00fcnlendi\u011finde artt\u0131\u011f\u0131n\u0131 ve homeostatik fonksiyon oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcren psikolojik bir etki yaratt\u0131\u011f\u0131n\u0131&#8221; belirtmektedir. Prolaktin, hipofiz bezinin \u00f6n lobu taraf\u0131ndan salg\u0131lanan i\u00e7 salg\u0131 hormonudur. \u00d6nemli psikolojik etkiye sahip olan hormon \u00f6zellikle&nbsp; huzur, sakinlik, esenlik ya da teselli duygular\u0131 yarat\u0131r. G\u00f6zya\u015f\u0131n\u0131n i\u00e7inde de bulunan prolaktin, a\u011flaman\u0131n nedeninden \u00e7ok, sonucu olarak g\u00f6sterilir. \u00dcz\u00fcnt\u00fc, stres ve yas gibi durumlarda prolaktin bunlara bir cevap olarak salg\u0131lan\u0131r ve rahatlat\u0131c\u0131 bir etki yarat\u0131r. Salg\u0131lanma nedeni olarak ruhsal ac\u0131y\u0131 s\u0131n\u0131rland\u0131rmak ve keder durumunun kontrols\u00fczce y\u00fckselmesini engellemek diyebiliriz. Prolaktinin sadece a\u011flarken de\u011fil \u00fcz\u00fcnt\u00fcl\u00fc durumlarda da salg\u0131land\u0131\u011f\u0131 -buna empati yollu \u00fcz\u00fclmek de dahil- bulunmu\u015f. M\u00fczikteki h\u00fcz\u00fcn ger\u00e7ek d\u00fcnya \u00fcz\u00fcnt\u00fcs\u00fcne neden olan bir olaydan ziyade kurgusal bir yapayl\u0131k olmas\u0131 ve oradaki h\u00fczn\u00fc sadece empati yoluyla kavrayabilecek olmam\u0131za ra\u011fmen, prolaktin ger\u00e7ek bir \u00fcz\u00fcc\u00fc olayda salg\u0131land\u0131\u011f\u0131 gibi salg\u0131lanmakta ve bizleri teskin etmekte.<\/p>\n\n\n\n<p><strong>\u2026<\/strong><\/p>\n\n\n\n<p>Peki h\u00fcz\u00fcnl\u00fc m\u00fczik icra edenler? Durum elbette onlar\u0131n a\u00e7\u0131s\u0131nda \u00e7e\u015fitli farkl\u0131l\u0131klar g\u00f6steriyordur. Bunun hakk\u0131nda bir ara\u015ft\u0131rma yapmad\u0131m ama sekiz kez intihara kalk\u0131\u015fm\u0131\u015f, depresyondan muzdarip bir m\u00fczisyene yapt\u0131\u011f\u0131 h\u00fcz\u00fcnl\u00fc m\u00fcziklerin nedenin ve hissettirdi\u011fini sordu\u011fumda \u015f\u00f6yle bir kar\u015f\u0131l\u0131k alm\u0131\u015ft\u0131m:<\/p>\n\n\n\n<p>\u201cHer zaman m\u00fczi\u011fimde hissettiklerimi ve d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fc koymaya \u00e7al\u0131\u015f\u0131yorum, ama \u00e7o\u011fu zaman ba\u015faram\u0131yorum. D\u00fc\u015f\u00fcncelerimin sadece %1\u2019ini ifade edebilmi\u015fim gibi hissediyorum. Sonras\u0131nda daha karanl\u0131k, depresif, \u00fczg\u00fcn ve umutsuz olan\u0131n\u0131 yapmaya \u00e7al\u0131\u015f\u0131yorum. M\u00fczi\u011fi yapan insan\u0131n perspektifi ile m\u00fczi\u011fi dinleyen insanlar\u0131n d\u00fc\u015f\u00fcnd\u00fckleri elbette farkl\u0131d\u0131r.&nbsp; Ben, birey olarak birisine fark\u0131ndal\u0131k veremem; ama m\u00fczik, hayattaki \u015feyleri d\u00fc\u015f\u00fcnmeye sevk edebilecek, bu t\u00fcrden bir fark\u0131ndal\u0131\u011f\u0131 yakalayabilen m\u00fckemmel bir ara\u00e7t\u0131r. Her ne kadar akl\u0131mdakileri m\u00fczi\u011fe yans\u0131tamamak beni rahats\u0131z etse de a\u00e7\u0131klayamad\u0131\u011f\u0131m bir \u015fekilde bunu yapmaya mecburmu\u015fum gibi. Bunun benim akl\u0131m\u0131 her \u015feyden daha fazla mahvetti\u011fini bilsem de&#8230;\u201d<\/p>\n\n\n\n<p><strong>Kaynak\u00e7a<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"M57hQhV7a8\"><a href=\"https:\/\/neurosciencenews.com\/sad-music-psychology-4472\/\">The Pain and Pleasure of Sad Music<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;The Pain and Pleasure of Sad Music&#8221; &#8212; Neuroscience News\" src=\"https:\/\/neurosciencenews.com\/sad-music-psychology-4472\/embed\/#?secret=7ETGdmB7QB#?secret=M57hQhV7a8\" data-secret=\"M57hQhV7a8\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"FDrnJ6emlj\"><a href=\"https:\/\/neurosciencenews.com\/sad-beautiful-music-elevates-mood-psychology-773\/\">Beautiful but Sad Music Can Help People Feel Better<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Beautiful but Sad Music Can Help People Feel Better&#8221; &#8212; Neuroscience News\" src=\"https:\/\/neurosciencenews.com\/sad-beautiful-music-elevates-mood-psychology-773\/embed\/#?secret=hwOS3Auxvh#?secret=FDrnJ6emlj\" data-secret=\"FDrnJ6emlj\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2013.00311\/full\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2016.01176\/full\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2017.00439\/full\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2015.01541\/full\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttp:\/\/journals.plos.org\/plosone\/article?id=10.1371\/journal.pone.0110490\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.mpg.de\/11801437\/beautifully-sad\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.researchgate.net\/publication\/317687175_Psychological_models_of_art_reception_must_be_empirically_grounded\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttp:\/\/dro.deakin.edu.au\/view\/DU:30063081\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.psychologytoday.com\/us\/blog\/anger-in-the-age-entitlement\/201110\/self-regulation\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttp:\/\/journals.plos.org\/plosone\/article?id=10.1371\/journal.pone.0128451\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttp:\/\/pauegitimdergi.pau.edu.tr\/Makaleler\/991254288_3-%C3%96%C4%9ERETMEN%20ADAYLARINDA%20%20EMPAT%C4%B0.pdf\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttp:\/\/mp.ucpress.edu\/content\/28\/3\/279\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttp:\/\/music.psych.cornell.edu\/articles\/reviews\/A_theory_of_tonal_hierarchies_in_music.pdf\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/musiccog.ohio-state.edu\/home\/data\/_uploaded\/pdf\/prolactin2011.pdf\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Hey Jude, daha da k\u00f6t\u00fcle\u015ftirme durumu. H\u00fcz\u00fcnl\u00fc bir \u015fark\u0131 tuttur ve durumu d\u00fczeltiver. &nbsp;The Beatles grubuna ait 1968\u2019de [&hellip;]<\/p>\n","protected":false},"author":29,"featured_media":1686,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,1],"tags":[454,17,12,19],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>H\u00dcZN\u00dcN MUTLU EDEN HAL\u0130 : H\u00dcZ\u00dcNL\u00dc M\u00dcZ\u0130KLER | Ak\u0131l Defterim<\/title>\n<meta name=\"description\" content=\"Psikoloji \u00f6\u011frencilerinin kaleminden yaz\u0131lar.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.tpocg.org\/blog\/huznun-mutlu-eden-hali-huzunlu-muzikler\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta 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