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Politonalite Tekniğinin Incelenmesi Ve Darıus Mılhaud'nun

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Politonalite Tekniğinin Incelenmesi Ve Darıus Mılhaud'nun T.C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ KOMPOZİSYON ANASANAT DALI YÜKSEK LİSANS TEZİ POLİTONALİTE TEKNİĞİNİN İNCELENMESİ VE DARIUS MILHAUD’NUN ‘SAUDADES DO BRASIL’ ADLI ESERİNİN ANALİZİ CEYHUN ŞAKLAR 2501040490 TEZ DANIŞMANI: PROF. LALE FERİDUNOĞLU İSTANBUL - 2007 Başlık: Politonalite Tekniğinin İncelenmesi ve Darius Milhaud’nun ‘Saudades do Brasil’ Adlı Eserinin Analizi Yazar: Ceyhun Şaklar ÖZ Bu tezle, politonalite tekniği, tonaliteyle olan bağları ve farklılıkları açıklanmış, içeriği anlatılmaya çalışılmıştır. Döneminin diğer yeni kompozisyon tekniklerinden biri olduğu belirtilerek, 20. y.y. başlarındaki diğer bazı sanat alanlarıyla da ilişkileri vurgulanmıştır. Farklı kaynakların kuramsal bilgileri düzenli bir şekilde bir araya getirilerek kategorize bir sunum yapılmış, tekniğin uygulanma yolları ve zorlukları, uygularken dikkat edilmesi gereken ana noktalar belirtilerek konunun teorik yönünün daha iyi anlaşılmasına çalışılmıştır. Bu bağlamda, Darius Milhaud’nun Saudades do Brasil adlı eserinin özellikle politonal içeriği analiz edilerek, bu tekniğin uygulanmasındaki pratik anlamları fark etmeğe bir yol açılması hedeflenmiştir. Title: A Study on Polytonality Technique and an Analysis of Darius Milhaud’s Work ‘Saudades do Brasil’ Written by: Ceyhun Şaklar ABSTRACT This thesis foregrounds an exposition of the polytonality technique, the essential meaning it implies, and undertakes a comperative analysis between polytonality and tonality. By highlighting that polytonality is one of the new composition techniques of the 20th century, it links it to other disciplines of art. A systemazited approach has been instrumental in the use of the theoretical information necessary for such a link, leading to both a better grasp of the application methods and the predicaments they may entail, and to the main points to consider while applying them. In this context, especially the polytonal content of Darius Milhaud’s Saudades do Brasil has been analysed to raise an awareness concerning the practical meaning resulting from the application of polytonality technique. iii ÖNSÖZ Disonans sesler ve yapılar her zaman ilgimi çekmiş, bu olguyu zaman içerisindeki anlama çabalarım ile müziğe olan modernist bakış açım, beni politonalite kavramını ve kuramını daha iyi anlamaya yöneltmiştir. Aynı anda farklı düzlemlerin bir arada olabilirliği, disonans seslerin bu bakış açısıyla ele alınmasıyla teorik olarak politonalite kuramının kullanımı, bana her zaman özel ve nitelikli bir yol olarak gözükmüştür. Umarım bu çalışmam, geleneksel tonalite anlayışı ve devamındaki modernist yollardan biri olarak kullanılmış olan politonalite tekniğini daha iyi anlamak ve bu kompozisyon tekniğini daha yetkin biçimde kullanmak isteyen besteciler için faydalı olur. İstanbul Üniversitesi Devlet Konservatuvarı’ndaki öğrenim sürecim içerisindeki tüm değerli öğretmenlerime bir kez daha bu önsöz ile teşekkür etmek ise benim için bir borçtur. Bütün içtenliğimle belirtmek isterim ki, müzik sanatı bilgimi, sesleri kaliteli bir şekilde bir araya getirmeyi, anlamını bilerek icra etmeyi, duygularımı bu bilgi ve görgüyle ifade etmemdeki hala devam eden ve son nefesime kadar devam edecek olan öğrenme sürecim içerisindeki konumumu sizlere borçluyum. Sesleri yaşamının odağı olarak gören, yaşamın içinde biriktirdiği duyguları seslerle ifade etmeyi seçmiş bir insan olarak sizlere çok teşekkür ederim. Gelecekte, ortaya koyacağım işlerle sizleri gururlandıracak bir öğrenci olarak anılacağıma inanıyorum. Son olarak, beni öğrencileri olmaya layık gören tüm Kompozisyon Anasanat Dalı öğretmenlerime, bana olan inancı sayesinde akademik kompozisyon eğitimimi edinmemi sağlayan kompozisyon öğretmenim sayın Mete Sakpınar’a, öğretmenlik yaptığı İstanbul Üniversitesi Devlet Konservatuvarı’nda öğrencisi olmaktan gurur duyduğum, bilgisi ve kalitesiyle onunla yaptığım her dersten daha iyi bir müzisyen olarak ayrılmamı sağlayan değerli öğretmenim sayın Emel Çelebioğlu’na, tez danışmanlığımı kabul ederek bana onur veren sayın Lale Feridunoğlu’na çok teşekkür ederim. iv İÇİNDEKİLER ÖZ/ABSTRACT..........................................................................................................iii ÖNSÖZ........................................................................................................................iv İÇİNDEKİLER.............................................................................................................v NOTA ÖRNEKLERİ LİSTESİ..................................................................................vii TABLO LİSTESİ........................................................................................................xii RESİM LİSTESİ.......................................................................................................xiii KISALTMALAR LİSTESİ.......................................................................................xiv GİRİŞ............................................................................................................................1 I. TONALİTE, POLİTONALİTE VE MODERNİZM.................................................6 A. Tonalite ve Tarihsel Gelişimine Kısa Bir Bakış.........................................6 B. Tonalite (Eksen Duygusu), Politonalite (Çok Eksenlilik)........................13 C. Politonalite ve 20. Y.Y. Sanatı.................................................................18 II. POLİTONALİTE...................................................................................................24 A. Politonalite Kuramı...................................................................................24 1. Politonalite Kuramının Genel Tanımı...........................................24 2. Politonal Kurguda Yapı Çeşitleri..................................................29 3. Politonal Kurguda Dikkat Edilmesi Gereken Noktalar.................32 B. Politonalite Örnekleri................................................................................41 III. DARIUS MILHAUD VE SAUDADES DO BRASIL.........................................68 A. Yaşamı......................................................................................................68 B. Kompozisyon Stili.....................................................................................72 C. Saudade ve ‘Saudades do Brasil’..............................................................77 D. Saudades do Brasil’in Analizi...................................................................80 1. Sorocaba........................................................................................80 2. Botafogo........................................................................................86 3. Leme..............................................................................................91 4. Copacabana...................................................................................96 5. Ipanema.......................................................................................102 6. Gavea..........................................................................................108 v 7. Corcovado...................................................................................113 8. Tijuca..........................................................................................117 9. Sumare........................................................................................121 10. Paineras.......................................................................................126 11. Laranjeiras...................................................................................129 12. Paysandu.....................................................................................134 13. Kategorize Edilmiş Analiz Sonuçları..........................................139 E. Eserleri.....................................................................................................146 SONUÇ.....................................................................................................................159 BİBLİYOGRAFYA/KAYNAKÇA..........................................................................160 EKLER......................................................................................................................162 vi NOTA ÖRNEKLERİ LİSTESİ Nota I. 1........................................................................................................................6 Nota I. 2........................................................................................................................7 Nota I. 3........................................................................................................................8 Nota II. 1.....................................................................................................................25 Nota II. 2.....................................................................................................................25 Nota II. 3.....................................................................................................................26 Nota II. 4.....................................................................................................................26 Nota II. 5.....................................................................................................................27 Nota II. 6.....................................................................................................................27 Nota II. 7.....................................................................................................................28
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