Turkish Musical Influences upon Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance Item Type text; Electronic Dissertation Authors Sönmezler, Ahmet Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 22:00:53 Link to Item http://hdl.handle.net/10150/306145 TURKISH MUSICAL INFLUENCES UPON CARLO DOMENICONI’S VARIATIONS ON AN ANATOLIAN FOLK SONG AND KOYUNBABA: IMPLICATIONS FOR PERFORMANCE by Ahmet Sönmezler __________________________ Copyright © Ahmet Sönmezler 2013 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ahmet Sönmezler entitled Turkish Musical Influences upon Carlo Domeniconi’s Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. __________________________________________________________Date: 05/05/2013 Thomas Patterson __________________________________________________________Date: 05/05/2013 Donald Hamann __________________________________________________________Date: 05/05/2013 Janet Sturman Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Document Director__________________________________________Date: 05/05/2013 Thomas Patterson 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Ahmet Sönmezler 4 DEDICATION To my father Musa Türker Sönmezler, my sister Göral Sönmezler, my grandparents Hediye Sönmezler, Ahmet Musa Sönmezler, Akan Şükrü Üçay, to my aunt Şaziye Sönmezler, and to my fiance Betül Gülderen. Thank you very much for your endless support and belief in me. I love all of you so much. 5 ACKNOWLEDGEMENTS This document would not be possible without the countless help and encouragement of Prof. Thomas Patterson, Dr. Donald Hamann, Dr. Janet Sturman, father Musa Türker Sönmezler, grandmother Hediye Sönmezler, aunt Şaziye Sönmezler, sister Göral Sönmezler, and my beloved fiance Betül Gülderen. I also would like to thank Turkish Ministry of Education and Culture for granting me a doctoral success scholarship throughout the completion of Doctor of Musical Arts degree program. 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES......................................................................................8 LIST OF FIGURES...........................................................................................................12 ABSTRACT.......................................................................................................................13 FOREWORD.....................................................................................................................14 CHAPTER I. INTRODUCTION AND SCOPE OF STUDY...........................................15 CHAPTER II. CARLO DOMENICONI (b. 1947)............................................................20 Turkish Poetic Writing.......................................................................................................22 Melody of Uzun ince bir yoldayım.....................................................................................24 Melodic Organization.........................................................................................................35 Rhythmic Organization......................................................................................................36 Chordal Organization.........................................................................................................38 Dörtlü Armoni Sistemi (Quartal Harmonic System)..........................................................39 Technical imitation of Turkish plucked string instruments (bağlama and ud)..................41 CHAPTER III. TURKISH MUSIC...................................................................................50 Turkish Folk Song (Türkü)................................................................................................50 Türküler, according to their melodies................................................................................51 Usullü Türküler..................................................................................................................52 Usulsüz Türküler................................................................................................................52 Türküler, according to their subjects.................................................................................53 Türküler, according to their structures...............................................................................53 Stylistic performance of Turkish folk music.....................................................................56 7 TABLE OF CONTENTS – continued Mihriban............................................................................................................................57 CHAPTER IV. PERFORMER’S GUIDE: VARIATIONS ON AN ANATOLIAN FOLK SONG AND KOYUNBABA.......................................................................................61 Overview............................................................................................................................61 1. Variations on an Anatolian Folk Song...........................................................................61 2. Koyunbaba.....................................................................................................................68 Suggested Listening List...................................................................................................74 CHAPTER V. CONCLUSIONS.......................................................................................76 REFERENCES..................................................................................................................78 8 LIST OF MUSICAL EXAMPLES Musical Example 1: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1-3)6....................................................................................................................................17 Musical Example 2: “Uzun ince bir yoldayım,” by Aşık Veysel Şatıroğlu18 ....................25 Musical Example 3: A section of the verse from Uzun ince bir yoldayım by Aşık Veysel Şatıroğlu.............................................................................................................................26 Musical Example 4: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)19.....................................................................................................27 Musical Example 5: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-7)20.....................................................................................................27 Musical Example 6: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-7)21....................................................................................................28 Musical Example 7: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1- 3)22......................................................................................................................................29 Musical Example 8: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 4)23 ............................................................................................................................................29 Musical Example 9: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 32-34)24..............................................................................................................................29 Musical Example 10: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 42)25....................................................................................................................................30 Musical Example 11: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (m. 130)26..................................................................................................................................30 Musical Example 12: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (m. 8)27...........................................................................................................30 Musical Example 13: “Variation II,” from Variations