Singspiel'in tarihsel değişim sürecinde 19. ve 20. yy. Alman operalarındaki izlerinin örnek eserler üzerinden incelenmesi
Examining the traces of Singspiel in the 19th and 20th century German operas through example works in its historical change process
- Tez No: 891359
- Danışmanlar: DOÇ. DR. RAŞİT GÖRKEM AYTİMUR
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2024
- Dil: Türkçe
- Üniversite: ANKARA MÜZİK VE GÜZEL SANATLAR ÜNİVERSİTESİ
- Enstitü: Müzik ve Güzel Sanatlar Enstitüsü
- Ana Bilim Dalı: Ses Eğitimi Ana Sanat Dalı
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 111
Özet
Singspiel opera, müzik ve dramatik sanatları birleştirerek etkileyici bir form olarak kabul edilmiş ve özellikle Alman müzik kültüründe önemli bir yer edinmiştir. Singspiel terimi, şarkılarla konuşma diyaloglarını birleştiren bir janr olarak opera literatüründe yerini almış ve özellikle çıkış yeri olan Almanya'da dramatik ve müzikal ifade aracı olarak öne çıkmıştır. 16. yy. sonlarında Almanya ve Avusturya'da görülen erken dönem Singspiel örnekleri, yerel halk müziği ve tiyatro unsurlarını içermekte ve geniş kitlelerce anlaşılabilir bir form oluşturma çabası içinde değerlendirilmektedir. 17. yy.da Singspiel'in yaygınlaşması, Almanca konuşulan coğrafyalarda kültürel bir fenomen haline gelmesine yol açmıştır. Özellikle 18. yy. Singspiel'in tarihsel gelişiminde, Wolfgang Amadeus Mozart gibi büyük bestecilerin eserleri, Singspiel'in müzikal ve dramatik olanaklarını zirveye taşımış ve uluslararası alanda tanınmasını sağlamıştır. Carl Maria von Weber ve Albert Lortzing gibi besteciler 19. yy.da, Singspiel'in dramatik potansiyelini genişletmiş ve bu formu operanın romantik idealine daha da yaklaştırmıştır. Bu dönemde Singspiel, artık yalnızca hafif ve eğlenceli bir tür olarak değil, derin ve anlamlı temaları işleyebilen bir sanat formu olarak görülmeye başlanmıştır. Aynı zamanda bu dönem, Singspiel'in operadaki yerini sağlamlaştırdığı ve uluslararası alanda tanınan bir form haline geldiği bir dönem olmuştur. Singspiel, 20. yy.da modernist ve avangard akımların etkisiyle yeniden yorumlanmış ve deneysel sahnelemelerle zenginleştirilmiştir. Kurt Weill gibi bestecilerin eserleri, toplumsal eleştiriyi ve çağdaş yaşamın karmaşıklıklarını işleyerek Singspiel'in politik ve sosyal bir araç olarak işlev görebileceğini göstermiştir. Bu çalışma, Singspiel'in sadece bir müzik türü olarak değil, aynı zamanda Avrupa kültürünün zengin ve çok boyutlu bir ifadesi olarak nasıl şekillendiğini ve evrildiğini ortaya koymayı hedeflemektedir. Singspiel'in tarihsel gelişimi, dönemin tarihsel ve sosyo-kültürel dinamikleri ile birlikte ele alınarak bu formun operadaki yeri ve önemi kapsamlı bir bakış açısıyla değerlendirilmiştir.
Özet (Çeviri)
Opera as an art form has long been revered as one of the most enchanting combination of music and dramatic arts throughout the centuries, giving rise to various forms and styles. Within all these forms and styles, Singspiel particularly holds a special place in German musical culture due to its unique structure and evolution. The term Singspiel, literally translating to“singing play,”denotes a form that integrates spoken dialogue with songs, thereby bringing them to the stage. This characteristic feature distinguishes Singspiel as a unique opera form comparing to the other opera genres, making it a significant tool for dramatic and musical expression, particularly in German-speaking regions. By researching on the historical development of Singspiel not only sheds light on the origins and evolutionary process of this musical genre but also new aspects reveal into the cultural and social dynamics of 18th and 19th century Europe. In this context, tracing the historical development of Singspiel involves comprehensively addressing its early examples from the Renaissance period, its evolution through the Baroque and Classical eras, reaching its zenith in the Romantic period, and extending its influences into modern times. Early examples of Singspiel emerging in late 16th century Germany and Austria typically combination of local folk music and theatrical elements to create a comprehensible and accessible form for wide audiences. In this regard, themes inspired by folk tales and everyday life have been formed the fundamental building blocks of Singspiel. The genre's popularization and more broadly acceptance throughout the 17th century transformed it into a cultural phenomenon specifically in German-speaking territories. By the 18th century, the Singspiel form has shown significant development, especially through the works of great composers like Wolfgang Amadeus Mozart. Mozart's masterpieces such as Die Entführung aus dem Serail (The Abduction from the Seraglio) and Die Zauberflöte (The Magic Flute) elevated the musical and dramatic possibilities of Singspiel to new heights, establishing this form as internationally recognizable products. Mozart's contributions to Singspiel have not only enriched its melodic richness and dramatic depth but have also enhanced its artistic value. Concurrently, there is no doubt that Johann Adam Hiller works have been contributed to the development and diversification of Singspiel. The innovations brought by Mozart to Singspiel extended beyond mere melodic richness and dramatic depth; they perfected the balance between music and dramatic arts, creating some of the brightest examples of Singspiel in the Classical period. Particularly, operas like Die Entführung aus dem Serail and Die Zauberflöte secured Singspiel's recognition and acceptance on the international stage, laying a significant foundation for its future development. In the 19th century, Singspiel evolved into a new dimension by blending the emotional and dramatic richness of the Romantic era. Composers like Carl Maria von Weber and Albert Lortzing expanded the dramatic potential of Singspiel, bringing this form closer to the ideals of Romantic opera. Weber's opera Der Freischütz (The Marksman) is considered a precursor to German Romantic opera, while Lortzing's Der Wildschütz (The Poacher) further reinforced the popularity of Singspiel. During this period, Singspiel began to be viewed not only as a light and entertaining genre but also as an art form capable of addressing profound and meaningful themes. Moreover, this era solidified Singspiel's place in opera, transforming it into a more well-known and widely appreciated form. The 20th century witnessed innovative approaches and diverse transformations for Singspiel. Influenced by modernist and avant-garde movements, traditional Singspiel forms were reinterpreted and enriched through experimental stagings. In the early 20th century, composers like Kurt Weill blended the musical and dramatic structures of Singspiel with new political and social content, expanding the boundaries of the genre. Works like Weill's Die Dreigroschenoper (The Threepenny Opera) demonstrated Singspiel's potential in the modern era by addressing social criticism and complexities of contemporary life. Furthermore, with postmodern influences in the latter half of the 20th century, Singspiel evolved into hybrid forms that combined classical and popular culture elements. Arnold Schoenberg's Sprechgesang style emerged as one of the evolutions of Singspiel in the 20th century, while the Klangsprechen style highlighted new expressions within this form. During this period, Singspiel's flexible structure combined with new media and technology to reach broader audiences, evolving into various forms in the contemporary opera repertoire. In the modern era, the Singspiel form continued its development through technological advancements, enriching opera stage performances and maintaining its relevance through various adaptations. The development of Singspiel signifies not only significant musical and dramatic advancements but also important cultural and societal changes. Particularly in the 20th century, Singspiel's engagement with political and social themes allowed it to serve as a tool for social critique. This transformation elevated Singspiel beyond mere entertainment, enabling it to contribute to the formation of social and political consciousness. Works like Weill's Die Dreigroschenoper illustrated how Singspiel could address themes such as capitalism critique and class struggle, showcasing its potential as a social and political instrument. This thesis aims to comprehensively examine the historical development of Singspiel, its musical and dramatic characteristics, and its place in the social and cultural context. The study intends to explore how Singspiel shaped and evolved not only as a musical genre but also as a rich and multifaceted expression of European culture. Accordingly, the developmental journey of Singspiel will be discussed in conjunction with the historical and socio-cultural dynamics of its respective periods, providing a comprehensive perspective on its role and significance in opera. In conclusion, this research lies at the intersection of musicology and history, aiming to reevaluate the artistic and cultural significance of Singspiel by examining its historical development from a broader perspective. It is hoped that this thesis will make a meaningful contribution to the academic literature on Singspiel and facilitate a better understanding of this important musical genre.
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