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İlhan Usmanbaş'ın Yaylı Dördül-70 eserinin formal ve çalış teknikleri bakımından incelenmesi

Formal analysis and playing methods of İlhan Usmanbaş's 'Yaylı Dördül-70'

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  1. Tez No: 782002
  2. Yazar: CANSU GÖKAYAZ
  3. Danışmanlar: DOÇ. CEYLA GANİOĞLU YALÇIN
  4. Tez Türü: Yüksek Lisans
  5. Konular: Müzik, Music
  6. Anahtar Kelimeler: İlhan Usmanbaş, Yaylı Dördül, Rastlamsallık, İlhan Usmanbaş, Seriality, Aleatory, Yaylı Dördül-70, Graphic Notation
  7. Yıl: 2022
  8. Dil: Türkçe
  9. Üniversite: ANKARA MÜZİK VE GÜZEL SANATLAR ÜNİVERSİTESİ
  10. Enstitü: Müzik ve Güzel Sanatlar Enstitüsü
  11. Ana Bilim Dalı: Çalgı Eğitimi Ana Sanat Dalı
  12. Bilim Dalı: Çalgı Eğitimi Bilim Dalı
  13. Sayfa Sayısı: 123

Özet

Bu çalışma İlhan Usmanbaş'ın yaşamını, zaman içerisinde dünyada değişen müzik dilinin Usmanbaş'ın müziğindeki yansımalarını ve Yaylı Dördül-70 eserinin incelemesini içerir. Bestecinin 1947-2006 yılları arasında yazmış olduğu dokuz yaylı dördül bulunur. Rastlamsal ögeler içeren, farklı notalama yöntemleri kullanılan bu eseri tanıtarak, seslendirmek isteyen icracılara yol gösterici olmak, bu çalışmanın amaçlarındandır. İkinci kuşak Türk bestecilerimizden olan Usmanbaş, 1950'lerde başlayan müzik akımlarını, dünya ile paralel bir şekilde takip etmiş ve sürekli yeniyi kullanarak üretmiştir. Eserlerinde, birbirini tekrar etmeyen, yenilikçi anlayışı benimsemiştir. Usmanbaş'ın 1950'li yıllarda başlayan 12 ton, dizisellik gibi yenilikçi anlayışı, 1950'lerin sonlarında yerini rastlamsallığa bırakır. 1960 sonrası yazdığı eserlerde, rastlamsal anlayış sıklıkla görülür. Rastlamsallık, açık biçim gibi kavramların müzikte kullanılmasıyla notalama yöntemleri de değişikliğe uğrar.“Açık yapıt”örneği olan Yaylı Dördül 70 eserinde de, Usmanbaş farklı notalama yöntemlerini bir arada kullanır. Geleneksel notasyondan farklı şekilde yazılmış, icracıyı da eserin oluşumuna dahil eden bu yaylı dördülün incelemesi, yorumculara yol göstermek için yapılmıştır. Bu tezde yer verilen bazı kaynak ve alıntılarda kelime“raslantı”olarak geçse de“rastlamak”kelimesinden türediği ve Türk Dil Kurumu'nda da bu şekilde yer aldığı için, çalışma boyunca“rastlamsal”olarak kullanılmıştır.

Özet (Çeviri)

İlhan Usmanbaş is one of the first names that come to mind from contemporary music in Turkey. As a composition understanding, he produced works against the traditional language of the old generation, in parallel with his contemporaries. The violin became popular with him and his older brother in his childhood in Ayvalık. While İlhan Usmanbaş was in primary school, violin lessons were given by his elder brother, Seyfettin Asal. After finishing primary school, his older brother's summer cello debuts on his own. Usmanbaş, who was taken as an example by the Ankara State Conservatory in 1942, was taken as harmony with Ferit Alnar and Necil Kazım and as counterpoint with Akses, and then as counterpoint with Saygun and Erkin. Working with four members of the Turkish Five, Usmanbaş is a living history working with the pioneers of Contemporary Turkish Music. 1957-58 Rockefeller scholarship came together and he went to the United States for two years with his wife Atıfet. Usmanbaş, who finds voiceovers for the products here many times, is based on“Koussewitzky”in 1958 with his work“Poetic Music”. Yaylı Dördül-47, written in 1947, was popularized by the FROMM Music Foundation in America in 1954. İlhan Usmanbaş has nine string quartets written between 1947 and 2006. The musical language that has changed over the years is also seen in these string quartets. Usmanbaş develops his music together with other branches of art such as painting, literature and poetry. In the last part of his first known quartet, Yaylı Dördül-47, he adapted the understanding of Henri Matisse, one of the most important painters of the 20th century, into his own music. Aleatory, one of the currents that developed after the war, spread first to America and then to Europe in the 1950s. One of the most important representatives of this movement in America is John Cage (1912-92). In some aleatoric musical works, note durations, dynamics, and even the starting page are determined by the player during the performance of the piece. In this way, composers include the players in the formation of the piece. Luciano Berio's Sequenza for Solo Flute has a score written for the player, but lacks note durations and scale lines. The performer determines the duration of the note to be played according to the metronome written by the composer. In this way, the same piece is interpreted differently by two different flutists. While these developments were taking place in Europe and America, the years 1923-29 were the years when the country was restructured together with the Republic. Musicians who will create the necessary infrastructure to establish a conservatory in Ankara are brought from abroad. In addition to Paul Hindemith, important artists such as Carl Ebert, Ernst Praetorius, Edvard Zuckmayer, Lico Amar and Joseph Marx serve at the Conservatory. Between 1938-40, the Western music department of Ankara Radio was established. In addition to the conservatory and orchestras, community centers, theaters and radios are established and developed. The reflections of the musical language, which started to change in the post-war world in the 1950s, are also seen in Usmanbaş's works. Following the concepts such as 12 tones and seriality that we saw in Usmanbaş's works in the 1950s, we frequently encounter the concept of aleatory in his works in the 1960s and later. The first work he wrote using the 12-tone technique is the Three Musical Poem for voice and piano on the poems of Ertuğrul Oğuz Fırat in 1952. Following the 12-tone technique, the concept of“serialism”enters the composer's writing technique. In Five Etudes for Violin and Piano, which is“Turkey's first serial music experiment”, written by Usmanbaş, who switched to serial music experiments after twelve tones, the concept of seriality is also seen in other values apart from notes (İlyasoğlu, 2011). Some parts do not use measurements. The writing technique, which changes over time, forms the modernist language of the composer. In his work, Three Pictures by Salvadore Dali, which he wrote for twenty-two string instruments between 1952-55, it is seen that he used the concept of seriality in rhythmic elements besides sound scales. Usmanbaş, who adopts“infinite otherness in his works”after the twelve-tone and seriality trials, moves on to the aleatoric trials. The changing music language after 1950 and the playing techniques that developed along with it caused the development of new methods by changing the traditional notation. İlhan Usmanbaş dedicated his work Yaylı Dördül-70, which is the subject of this thesis, to Faruk Güvenç. Faruk Güvenç served in Ankara Radio, TRT, Presidential Symphony Orchestra, established the Helikon String Quartet and Ankara Chamber Orchestra, and worked as a music critic in various newspapers and magazines. This string quartet written by İlhan Usmanbaş in 1970 and dedicated to the violist Faruk Güvenç is an example of an open piece. From the notation writing to the sitting arrangement, the traditional has been moved away and graphic elements have been used. Usmanbaş uses the“Division Notation”technique in String Quadruple-70. split notation;“It is imprecise notation that gives the player-manager choice within certain segments or segments at the beginning and the end. Notation images can be taken from traditional notation, or they can be written with special signs or commands that indicate other wishes of the composer”(Usmanbaş, Musical Forms, 1974, p. 300) In his Yaylı Dördül-70 work, he uses“Administrative Notation”as well as Divided Notation. The ability of the player to start from the desired section enables many different pieces to emerge from a single piece. Even if it starts from the same section, the figures that are left to the player's choice in the continuation create a polyphony with a very different structure. The limited freedom determined by the composer sometimes leaves its place to a unity with a determined tempo. In this way, Usmanbaş includes the players in the creation process of the piece. This work, which contains aleatoric elements and is an example of a clear work, has been examined, and a guiding study for commentators and researchers has been tried to be put forward. Usmanbaş explains the work as follows: Description: Quadruple's (K) page. From A-P to fourteen pages, the school can start from any page in this work; It is finished before the one started. Everything was like a beginning, a beginning, and a finishing page. Each selection is run in the order of the operator; its page has a more or less determined duration; With the beginnings of the 1st violinist and playing, they sometimes move to a time or a multiple page, as that page begins to play their music. The upper left structure of the open double page is divided into the 1st violin, six violas, the upper right page is divided into the 2nd violin and six cellos. Partitur is also party. (Usmanbaş, Forms in Music, 1974, p. 292, 294) In Yaylı Dördül-70, graphic notation is used, which facilitates the contribution of the performers, albeit within the limits set by the composer. Unlike the traditional score, the four instruments are placed side by side on the same page. Letters are used instead of page numbers. It consists of a total of sixteen letters, of which each letter is two pages. These letters from A to P are formed from the names of some contemporary composers. (such as Arel, Berio, Cage, Davis). The composer offers a certain freedom to the interpreters while preserving the integrity. Ankara String Quartet, of which Murat Tamer (first violin), Cengiz Özkök (second violin), Betil Başeğmezler (viola) and Engin Sansa (cello) is a member, is one of the works of Turkish composers named“Chamber Music From Turkey: Volume Three”in 1992. releases an album. In this album they released, İlhan Usmanbaş Yaylı Dördül-70 is also included. One of the two recordings of the piece belongs to the Ankara String Quartet and the other belongs to the Britten String Quartet. In both recordings, the playing started with the letter A, their total duration differs. At the end of the text of the work, the interviews with the artists included in the records of the work are added, and their ideas and recommendations about the work are included. In addition, the notation of the work is also added to the end of the work.

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