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Istanbul Technical University Institute of Social Sciences Aesthetical and Technical Analysis of Selected Flute Works by S

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Istanbul Technical University Institute of Social Sciences Aesthetical and Technical Analysis of Selected Flute Works by S ISTANBUL TECHNICAL UNIVERSITY ★ INSTITUTE OF SOCIAL SCIENCES AESTHETICAL AND TECHNICAL ANALYSIS OF SELECTED FLUTE WORKS BY SOFIA GUBAIDULINA Ph.D. THESIS Zehra Ezgi KARA Department of Music Music Programme MARCH 2019 ISTANBUL TECHNICAL UNIVERSITY ★ INSTITUTE OF SOCIAL SCIENCES AESTHETICAL AND TECHNICAL ANALYSIS OF SELECTED FLUTE WORKS BY SOFIA GUBAIDULINA Ph.D. THESIS Zehra Ezgi KARA (409112005) Department of Music Music Programme Thesis Advisor: Assoc. Prof. Jülide GÜNDÜZ MARCH 2019 İSTANBUL TEKNİK ÜNİVERSİTESİ ★ SOSYAL BİLİMLER ENSTİTÜSÜ SOFIA GUBAIDULINA’NIN SEÇİLİ FLÜT ESERLERİNİN ESTETİK VE TEKNİK ANALİZİ DOKTORA TEZİ Zehra Ezgi KARA (409112005) Müzik Anabilim Dalı Müzik Programı Tez Danışmanı: Doç. Jülide GÜNDÜZ MART 2019 Zehra Ezgi Kara, a Ph.D. student of ITU Graduate School of Arts and Social Sciences student ID 409112005, successfully defended the thesis/dissertation entitled “AESTHETICAL AND TECHNICAL ANALYSIS OF SELECTED FLUTE WORKS BY SOFIA GUBAIDULINA”, which she prepared after fulfilling the requirements specified in the associated legislations, before the jury whose signatures are below. Thesis Advisor: Assoc. Prof. Jülide Gündüz …………… Istanbul Technical University Jury Members: Assoc. Prof. Dr. Yelda Özgen Öztürk .…………… Istanbul Technical University Assoc. Prof. Dr. Jerfi Aji .…………… Istanbul Technical University Prof. Dr. Gülden Teztel .…………… Istanbul University Assoc. Prof. Dr. Müge Hendekli .…………… Istanbul University Date of Submission : 05 February 2019 Date of Defense : 20 March 2019 v vi To Mom, Dad and my dog, Justin. vii viii FOREWORD This thesis, entitled “Aesthetical and Technical Analysis of Selected Flute Works by Sofia Gubaidulina”, is submitted for the degree of Doctor of Philosophy at the I.T.U. Social Sciences Institute, Dr. Erol Üçer Center for Advanced Studies in Music (MIAM). I would like to thank my advisor, Assoc. Prof. Jülide Gündüz with deep appreciation and gratitude for her guidance, sharing of knowledge and constant moral support whenever I needed it; and the members of the thesis committee, Assoc. Prof. Dr. Yelda Özgen Öztürk, Assoc. Prof. Dr. Müge Hendekli, Assoc. Prof. Dr. Jerfi Aji, and Prof. Dr. Gülden Teztel for their support. I am also grateful to Assoc. Prof. Dr. M. Erdem Çöloğlu for his time and effort in evaluating the analysis section and providing feedback. I would like to express my gratitude to my dear friend Volkan Kahraman for his practical advice and meticulous editorial help in English academic writing, and the staff at www.academicproof.reading.com who have proofread the thesis thoroughly and precisely in a very short time. I am also greatly indebted to my friend Özkan Bilgin for hosting me in İstanbul and giving me significant support that helped me carry on throughout my studies; Aslı Kobaner for making the analysis section possible and enjoyable through her friendly assistance. And lastly, I would like to thank my parents Murat Kara and Sultan Nihal Kara, for teaching me the joy of success, supporting me at all times, and taking care of my dog, Justin, while I was away for my studies. Without their significant support, this work might never have reached completion. March 2019 Zehra Ezgi KARA ix x TABLE OF CONTENTS Page FOREWORD ........................................................................................................ ix TABLE OF CONTENTS ..................................................................................... xi ABBREVIATIONS .............................................................................................. xiii LIST OF TABLES ............................................................................................... xv LIST OF FIGURES ............................................................................................. xvii SUMMARY........................................................................................................... xix ÖZET ..................................................................................................................... xxi 1. INTRODUCTION ............................................................................................ 1 1.1. Purpose of the Thesis…………………………………....…………..…...... 6 1.2. Methodology……………………………….……..………………..….…... 7 1.3. Literature Review………………………………………………………….. 11 2. CLASSICAL MUSIC IN THE SOVIET UNION ………………………….. 15 2.1. Music in the Early Years of Revolution (1917-1921)…………………….. 15 2.1.1. Proletkul’t Movement………………………..……………..…….. 18 2.1.2. Establishment of MUZO………………………..……………..…. 19 2.2. Music under the New Economic Policy and the Five-Year Plan (1921-1932)………………………………………….. 22 2.2.1. Establishment of ASM and RAPM……………………………….. 25 2.2.2. Musical Life during Stalin’s First Five-Year Plan (1928-1932)…. 27 2.3. Union of Soviet Composers and Centralization in Music (1932-1953)….. 28 2.3.1. Socialist Realism and Western Formalism……………………….. 29 2.3.2. Music During The Great Patriotic War…………………………... 34 2.3.3. The year 1948 and after: Zhdanovism …………………………… 36 2.4. Khrushchev and the Thaw Period (1953-1964)………………………….. 42 2.5. Music in Brezhnev’s stagnation period (1964-1982)………...…………... 47 2.5.1. The Khrennikov Seven…………………………………………….. 49 2.6. 1982 and after: Perestroika and Glasnost under Gorbachev (1982-1991).. 52 3. COMPOSITIONAL AESTHETICS AND TECHNIQUES OF SOFIA GUBAIDULINA………………………..…….. 55 3.1. Background……………………………………………………………….. 55 3.2. Compositional Styles…………………………………………………..…. 58 3.2.1. Sound and Timbre………………………..………………………… 59 3.2.2. Rhythm of Form…………………..………………………………... 66 3.2.3. Quarter-tones………………………………………………………. 71 3.3. Gubaidulina as a Woman Composer …………………………………….. 74 3.4. Major Influences in Gubaidulina’s Music….…………………………….. 78 3.4.1. Symbolism…………………………………………………………. 78 3.4.2. Influence of Shostakovich, Webern, and J.S. Bach……………....... 85 3.4.3. The Use of Dichotomy ……………………….……………………. 89 4. ANALYSIS OF GUBAIDULINA’S FLUTE WORKS ……………………. 93 4.1. Analysis of Garden of Joy and Sorrow……………...……………………. 96 4.1.1. A Section…………………………………………………………… 99 4.1.2. B Section …………………………………………………………... 102 4.1.3. A’ Section…………………………………………………….…..... 115 xi 4.2. Analysis of Quartet for Four Flutes..…………………………………….. 116 4.2.1. Movement I………………………………………………..……...... 118 4.2.2. Movement II……………………………………………………….. 120 4.2.3. Movement III……………………………………………………..... 122 4.2.4. Movement IV……………………………………………………..... 123 4.2.5. Movement V……………………………………………………….. 124 5. CONCLUSION ................................................................................................ 127 REFERENCES ..................................................................................................... 133 APPENDICES........................................................................................................ 139 APPENDIX A…………………………………………………………….. 141 CURRICULUM VITAE ...................................................................................... 143 xii ABBREVIATIONS afl :Alto flute Agitotdel :Agitation and Propaganda Department in the Communist Party ASM :Assotsiatsia Sovremennoi Muzyki (Association for Contemporary Music) bcl :Bass clarinet bfl :Bass flute db :Double Bass EP :Expression Parameter fl :Flute GAKhN :Gosudarstvennyi akademiia khudozhestvennykh nauk (the State Academy of Artistic Sciences) hp :Harp hpd :Harpsichord IC :Interval Class IRCAM : Institut de Recherche et Coordination Acoustique/Musique (Institute for Research and Coordination in Acoustics/Music) ISCM :International Society of Contemporary Music İTÜ :İstanbul Technical University Mez :Mezzo-soprano MİAM :İstanbul Technical University Center for Advanced Studies in Music MUZO :Music Depertment of Narkompros Mvt :movement Narkompros :Narodnyi Komissariat po Proveshcheniyu (People’s Commissariat of Public Enlightenment) NEP :New Economic Policy org :Organ ORKIMD :Association of Revolutionary Composers and Musical Activists PC :Pitch Class perc :Percussion pf :Piano picc :Piccolo PROKOLL :Production Collective of Student Composers Proletkul’t :Proletarskaya kultura (Proletarian Organisation for Cultural Education) RAPM :Rossiiskaya Assotsiatsia Proletarskikh Muzykantov (Russian Association of Proletarian Musicians) RMS :The Russian Musical Society RN :Rehearsal Number RSFSR :Russian Soviet Federative Socialist Republic str :String instruments TASSR :Tatar Autonomous Soviet Socialist Republic UE :Universal Edition USC :The Union of Soviet Composers xiii USSR :Union of Soviet Socialist Republics va :Viola vc :Cello vn :Violin xiv LIST OF TABLES Page Table 1.1: Interval classes …………………………………………………… 9 Table 3.1: Formal structure of…Heute früh, kurz vor dem Aufwachen…(1993)……………………………………………….. 71 Table 4.1: Flute works of Gubaidulina………………………………………. 94 Table 4.2: EP of Garden of Joy and Sorrow…………………………………. 98 Table 4.3: Formal Diagram of Garden of Joy and Sorrow…………………… 99 Table 4.4: Formal structure of the development section…………………….. 103 Table 4.5: Formal analysis of Quartet for 4 flutes…………………………… 117 Table 4.6: EP of Quartet for Four Flutes…………………………………….. 118 xv xvi LIST OF FIGURES Figure 1.1: Pitch class numbers………………………………………………. 8 Figure 1.2: Inversions of PC set [2,6,9]………………………………………. 9 Figure 1.3: Normal order, best normal order and prime form [0157]……....... 10 Figure 2.1: Khrennikov, Shostakovich and Kabalevsky at a press conference in Los Angeles…………………………..... 45 Figure 2.2: Tikhon Khrennikov………………………………………………. 52 Figure 3.1: Gubaidulina with Prof. Grigory Kogan at the Conservatory of Kazan……………………………………. 56 Figure 3.2: Sofia speaking at a concert of Moscow
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