Istanbul Technical University Graduate School of Arts
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ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES EVOLUTION OF THE KEYBOARD PRELUDE AS A GENRE IN EUROPE: A TEXTURAL AND STYLISTIC APPROACH Ph. D. THESIS Ayşe DİRİKER SİPAHİ Department of Music Music Programme JULY 2016 ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES EVOLUTION OF THE KEYBOARD PRELUDE AS A GENRE IN EUROPE: A TEXTURAL AND STYLISTIC APPROACH Ph. D. THESIS Ayşe DİRİKER SİPAHİ (409062001) Department of Music Music Programme Thesis Advisor: Prof. Dr. CİHAT AŞKIN JULY 2016 İSTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ TUŞLU ÇALGILAR İÇİN YAZILMIŞ PRELÜDLERİN BİR TÜR OLARAK AVRUPA’DAKİ GELİŞİMİ: DOKUSAL VE STİLİSTİK BİR ANALİZ DOKTORA TEZİ Ayşe DİRİKER SİPAHİ (409062001) Müzik AnaBilim Dalı Müzik Programı Tez Danışmanı: Prof. Dr. CİHAT AŞKIN TEMMUZ 2016 FOREWORD This doctorate thesis “Evolution of the Keyboard Prelude as a Genre in Europe: A Textural and Stylistic Approach” was prepared at İ.T.Ü. Social Sciences Institute, Dr. Erol Üçer Center for Advanced Studies in Music (MİAM). The thesis aims to gain an overall perspective for the keyboard preludes composed in Europe between 1685 and 1950, in terms of their textural and stylistic aspects. Since the mentioned time range is wide enough, the most representative examples of each period were aimed to be collected to achieve a deep understanding of the textural and stylistic contexts of the specified periods. First and foremost, I would like to express my deepest gratitude to my supervisor Prof. Dr. Cihat Aşkın for his valuable insights at the most important moments of the whole procedure. I also owe a debt of gratitude to Assoc. Prof. Dr. Ozan Baysal for all the assistance he has provided throughout the whole thesis period. I would also like to thank the members of the committee; Assoc. Prof. Dr. Hyun Sook Tekin, Assoc. Prof. Dr. Müge Hendekli, Asst. Prof. Dr. Eray Altınbüken and Asst. Prof. Hakan Şensoy for their valuable comments and suggestions. I would like to thank Günsel Işık Gruson and Mine Erkaya for helping me throughout the recording process of the musical excerpts. Thanks also go to Can Kazaz, Ateş Erkoç and Can Dedeoğlu for their hard work during the preparation of the music score excerpts. I would also like to give my appreciations to Prof. Dr. Nur Esin for helping me how to clear out some important points. I would like to thank to Ali Darmar, Assoc. Prof. Dr. Koray Sazlı and Lera Auerbach for their suggestions. It is my big chance to have known number of precious people without whom I would not be able to accomplish this long journey of thesis writing. I would like to thank my mother Betül Diriker for offering me a musical path, my father Mevsim Diriker for his encouragement and my brother Ali Behzat Diriker for being next to me for years. I would like to thank my grandmother Bediran Yeğen, my departed aunt Zehra Yıldız and departed professor Nişan Sönmez as each one of them in different ways inspired me to continue music making. I would like thank my mother-in-law Birsen Sipahi and Seyhan-Rauf-Deniz Nişel for all the supports they have provided. Huge thanks go to number of friends and relatives who has been around me along the way: Aylin Yağcıoğlu, Başak Bollmann, Güray Başol, Burcu Atakul, Günay Koçhan, Emine Yeğen, Muhteber Hazine, Murat Oğuz, Zeynep - Onur Yaman, Nadya, Şans and Juan. Last but not least, I would like to give my special thanks to my dear Salih Sipahi, for all the love, patience and support he provided as well as his precious help in technical issues of Office Programmes. Without him, I could have never made it this far... July 2016 Ayşe Diriker Sipahi vii viii TABLE OF CONTENTS Page FOREWORD ............................................................................................................ vii TABLE OF CONTENTS ……. .............................................................................. ..ix LIST OF TABLES .................................................................................................... xi LIST OF FIGURES ................................................................................................ xiii SUMMARY ............................................................................................................ xvii ÖZET ........................................................................................................................ xix 1. INTRODUCTION .............................................................................................. 1 1.1 Purpose of the Study ...................................................................................... 1 1.2 The Methodology .......................................................................................... 3 1.3 Aspects Observed Through Methodology ..................................................... 5 1.4 An Introduction to the Word “Prelude” ........................................................ 8 2. A BRIEF HISTORY OF THE PRELUDE GENRE ..................................... 11 2.1 The Beginning of the Prelude ...................................................................... 11 2.2 Prelude Between 1590-1685 ....................................................................... 14 2.3 Prelude Between 1685-1750 ....................................................................... 23 2.4 Prelude Between 1780-1890 ....................................................................... 25 2.5 Prelude Between 1890-1950 ....................................................................... 26 3. PRELUDES BETWEEN 1590-1685 ............................................................... 29 3.1 English Preludes .......................................................................................... 29 3.2 German Preludes ......................................................................................... 35 3.2.1 Northern German School ..................................................................... 35 3.2.2 Southern and Central German School .................................................. 45 3.3 French Preludes ........................................................................................... 52 3.4 Main Points of the Preludes Between 1590 - 1685 ..................................... 56 4. PRELUDES BETWEEN 1685-1750 ............................................................... 63 4.1 English Preludes .......................................................................................... 63 4.2 German Preludes ......................................................................................... 65 4.3 French Preludes ........................................................................................... 73 4.4 Main Points of the Preludes Between 1685-1750 ....................................... 79 5. PRELUDES BETWEEN 1780-1890 ............................................................... 83 ix 5.1 Preludes in Germany ................................................................................... 84 5.2 Preludes in France ....................................................................................... 96 5.3 Preludes in Austria..................................................................................... 102 5.4 Preludes in Italy ......................................................................................... 105 5.5 Preludes in Poland ..................................................................................... 110 5.6 Preludes in Hungary .................................................................................. 116 5.7 Preludes in Russia ...................................................................................... 118 5.8 Main Points of The Preludes Between 1780-1890 .................................... 123 6. PRELUDES BETWEEN 1890-1950 ............................................................. 127 6.1 Preludes in Germany ................................................................................. 128 6.2 Preludes in France ..................................................................................... 131 6.3 Preludes in Russia ...................................................................................... 146 6.4 Main Points of the Preludes Between 1890 and 1950 ............................... 168 6.5 A Word On Preludes After 1950 ............................................................... 170 7. DISCUSSION AMONG SPECIFIC PRELUDE EXAMPLES .................. 177 7.1 Textural Discussion ................................................................................... 177 7.2 Stylistic Discussion.................................................................................... 189 8 CONCLUSION .................................................................................................... 197 REFERENCES ....................................................................................................... 203 APPENDICES ........................................................................................................ 209 APPENDIX A: SCORES USED IN THE DISSERTATION ............................. 211 APPENDIX B: THE CD OF THE MUSICAL EXAMPLES ............................. 215 LIST OF TRACKS................................................................................................. 217 CURRICULUM VITAE ........................................................................................ 221 x LIST OF TABLES Page Table 3.1: Ornament Table for mid to late 17th century in English keyboard Music 33 Table 3.2: Textural Table