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Paul Hindemith'in Trompet Ve Piyano Sonati'nin Form Ve

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Paul Hindemith'in Trompet Ve Piyano Sonati'nin Form Ve Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Üflemeli ve Vurmalı Çalgılar Anasanat Dalı PAUL HINDEMITH’İN TROMPET VE PİYANO SONATI’NIN FORM VE İCRA YÖNÜNDEN İNCELENMESİ Deniz BOZALP Yüksek Lisans Sanat Çalışması Raporu Ankara, 2018 PAUL HINDEMITH’İN TROMPET VE PİYANO SONATI’NIN FORM VE İCRA YÖNÜNDEN İNCELENMESİ Deniz BOZALP Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Üflemeli ve Vurmalı Çalgılar Anasanat Dalı Yüksek Lisans Sanat Çalışması Raporu Ankara, 2018 v TEŞEKKÜR Başta bu çalışmada engin deneyimleri ile bana yol gösteren danışmanım Doç. Burak Karaağaç olmak üzere, çalışmalarım boyunca beni her daim destekleyen aileme ve dostlarıma sonsuz teşekkürlerimi bir borç bilirim. vi ÖZET BOZALP, Deniz, Paul Hindemith Trompet ve Piyano için Sonatın Form ve İcra Yönünden İncelenmesi, Yüksek Lisans Sanat Çalışması Raporu, Ankara, 2018. Paul Hindemith, modern müziğin en önemli bestecilerinden biridir. Bestecinin matematiksel olarak deha sayılabilecek bir yazım stili vardır (Dinç, 2008). “Belki de bu yüzdendir ki Mustafa Kemal Atatürk’ün daveti üzerine 1935 yılında Türkiye’ye gelmiş ve müzik yaşamının daha kapsamlı bir biçimde örgütlenip organize edilmesi hususunda danışman olarak görev yapmıştır” (Say,1998). Paul Hindemith, ülkemizde çalışacak sanatçı kadrolarını da kendisi belirleyerek 1935-37 yılları arasında Ankara’da o zamanki adı Devlet Konservatuvarı olan okulumuzu en ince ayrıntısına dek tasarlayıp kurmuştu Eğitim sistemimizde ve tarihimizde oldukça emeği olan bestecinin bu başarılarının tohumları aslında çok küçük yaşta atılmıştır. Henüz çocukken keman çalışmalarına başlayan Paul Hindemith, Frankfurt Konservatuvarı’na girerek ileri keman, orkestra şefliği ve kompozisyon dersleri almış ve 1914 de yardımcı şef, 1917 de ise konzertmeister olarak Frankfurt Opera Orkestrası’nda önemli pozisyonlarda görev yapmıştır. Aynı yıldan 1940 yılına kadar gerek besteciliği, gerek kemancılığı, gerek eğitimci yönü, gerekse viyolacılığı ve orkestra şefliği ile uluslararası müzik çevrelerinde büyük başarılar elde etmiştir. 1940 yılında ABD’ye göç eden sanatçı, genel kuramları geliştirerek besteleri üzerinde uygulamıştır. Diğer önemli bestecilerden farklı olarak sonat formundaki eserleri bestelemeyi daha çok tercih eden sanatçı, yeni klasikçilik yani neo-klasisizm dönemine sonatları, sıra dışı eser ve malzemeleri ile damgasını vurmuştur. Genelde gündemde olmayan, unutulmaya yüz tutmuş enstrümanlara eser yazmayı seçen sanatçı, ikinci dünya savaşının başladığı yıllarda trompet için de bir eser bestelemiştir. Bu eser her ne kadar onun sıradan eserleri gibi görülse de içeriği, yazım amacı ve eserin günümüzdeki yeri açısından çok farklı, önemli bir eserdir. 1939 yılında bestelediği bu trompet ve piyano sonatı başta amatör trompetçilerin çalımı için amaçlansa da bugün trompet literatüründe önemli bir yapı teşkil etmektedir. Anahtar sözcükler: Hindemith, Sonat, Trompet, Neo-Klasik vii ABSTRACT BOZALP, Deniz Artistic and Analytical Aspects of Sonata for Trumpet and Piano by Paul Hindemith, Post-Graduate Art Work Report, Ankara 2018 Paul Hindemith, who was one of the great representatives of Neo-Classicism, aimed to compose sonatas, pieces for chamber ensembles, chamber orchestras and concertos for diasappearing or unfavorable instruments such as tuba, doublebass, viola d’amour etc. Also he aimed to create “Gebrauchsmusik” (music for use) by playing beginner level musicians for social platforms such as coctails, meetings etc instead of concert halls. It is claimed that also his Sonata for Trumpet and Piano (1939) is one of his great “Gebrauchsmusik” example, which is also supposed to be played by amateur trumpet players. This sonata for trumpet and piano which has taken place as one of the greatest significant trumpet repertoire masterpieces, is not a suitable sonata for beginner level trumpet players. Because of the fact that it has difficulties such as technical, melodical, rhythmical, harmonical and tonal structure, texture, articulation, dynamics range from pp to fff; this sonata can be only understood and performend by the trumpetists who have professional and high level skils. That is the reason this sonata is on the syllabus by a trumpetist in Master Degree of great conservatories and famous music faculties. Key Words: Hindemith, Sonata, Trumpet, Neo-Classic. viii İÇİNDEKİLER KABUL VE ONAY .......................................................................................................... i BİLDİRİM ....................................................................................................................... ii YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI................................. iii ETİK BEYAN ................................................................................................................. iv TEŞEKKÜR .................................................................................................................... v ÖZET ............................................................................................................................... vi ABSTRACT ................................................................................................................... vii İÇİNDEKİLER ............................................................................................................ viii TABLOLAR DİZİNİ ..................................................................................................... xi ŞEKİLLER DİZİNİ ...................................................................................................... xii 1. BÖLÜM ........................................................................................................................ 1 GİRİŞ ............................................................................................................................... 1 1.1. ARAŞTIRMANIN AMACI ................................................................................ 1 1.2. ARAŞTIRMANIN ÖNEMİ ................................................................................ 1 2. BÖLÜM ........................................................................................................................ 2 TROMPETİN TARİHİ .................................................................................................. 2 2.1. TROMPETİN YAPISI ...................................................................................... 15 2.2. HİNDEMİTH TROMPET VE PİYANO SONATI ........................................ 15 3. BÖLÜM ...................................................................................................................... 21 TROMPET SONATIYLA İLGİLİ DÖNEM VE FORM.......................................... 21 3.1. KLASİK MÜZİK .............................................................................................. 21 3.1.1. Sonat Allegro ............................................................................................... 21 3.1.2. Rondo ........................................................................................................... 22 3.2. MODERNİZM ................................................................................................... 23 ix 3.2.1. Neo-Klasik Müzik ....................................................................................... 24 3.2.2. Gebrauchsmusik-Kullanım için Müzik........................................................ 25 4. BÖLÜM ...................................................................................................................... 26 PAUL HİNDEMİTH ..................................................................................................... 26 4.1. PAUL HİNDEMİTH’İN HAYATI .................................................................. 26 4.2. PAUL HİNDEMİTH’İN MÜZİĞİ ................................................................... 29 4.2.1. Paul Hindemith’in Yazım Stili .................................................................... 31 4.2.2. Paul Hindemith’in Eserleri .......................................................................... 32 5. BÖLÜM ...................................................................................................................... 38 HİNDEMİTH TROMPET SONATI ........................................................................... 38 5.1. BİRİNCİ BÖLÜM ............................................................................................. 38 5.1.1. Melodik ve Ritmik Yapı .............................................................................. 41 5.1.2. Armonik ve Tonal Yapı .............................................................................. 43 5.1.3. Yazım, Artikülasyon ve Nüanslar................................................................ 45 5.2. İKİNCİ BÖLÜMNÜN İNCELENMESİ ......................................................... 47 5.2.1. Genel Yapı ................................................................................................... 47 5.2.2. Tonalite ........................................................................................................ 50 5.2.3. Armonik yapı ............................................................................................... 52 5.3. ÜÇÜNCÜ BÖLÜM ............................................................................................ 54 5.3.1. Genel Yapı ................................................................................................... 54 5.3.2. Tonalite ........................................................................................................ 56 5.3.3. Armonik yapı ..............................................................................................
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