TONAL BELİRSİZLİK VE YALIN İFADE: CHOPIN’İN OP. 67 NO. 4 MAZURKA’SINDA MODAL VE RİTMİK YAPI

Abstract

Bu çalışma, Frédéric Chopin’in Mazurka Op. 67 No. 4 adlı eserini modal yapı, ritmik özellikler ve doku kullanımı bağlamında incelemeyi amaçlamaktadır. Araştırmada, eser Aeolian ve Dorian modları arasındaki geçişler, eksik ve ertelenmiş kadans kullanımları ve mazurka karakterini oluşturan ritmik aksanlar açısından analitik bir yaklaşımla ele alınmıştır. Nitel araştırma yöntemine dayanan çalışmada, ölçü temelli müzikal çözümleme yoluyla armonik geçişler, motif yapıları ve sağ–sol el işlevleri değerlendirilmiştir. Bulgular, eserde tonik merkezin sıklıkla belirsizleştirildiğini, plagal geçişlerin ve kadanssız kapanışların geç dönem Chopin estetiğini yansıttığını göstermektedir. Sol eldeki sabit ritmik yapı ile sağ eldeki rubato uygulamalarının, dans ve lirik anlatım arasında dengeli bir etkileşim oluşturduğu belirlenmiştir. Ayrıca motiflerin kısa, parçalanmış ve çözülmeye açık yapısının, eserin yalın fakat derinlikli bir anlatım kazanmasına katkı sağladığı görülmüştür. Çalışma, Chopin’in geç dönem mazurkalarında modalite, ritim ve dokunun bütüncül bir anlatım aracı olarak nasıl işlediğini ortaya koyarak, performans ve pedagojik yorumlara yönelik çıkarımlar sunmaktadır.

Keywords

• Chopin
• mazurka
• modal inceleme
• doku incelemesi
• geç dönem mazurkaları.

TONAL AMBIGUITY AND SPARSE EXPRESSION: MODAL AND RHYTHMIC STRUCTURE IN CHOPIN’S MAZURKA OP. 67 NO. 4

Abstract

This study aims to examine Frédéric Chopin’s Mazurka Op. 67 No. 4 in terms of modal structure, rhythmic features, and textural use. The work is analyzed through an analytical approach focusing on transitions between the Aeolian and Dorian modes, the use of incomplete and delayed cadences, and rhythmic accents that shape the mazurka character. Employing a qualitative research design, the study conducts a measure-by-measure musical analysis to evaluate harmonic transitions, motivic structures, and the functional roles of the right and left hands. The findings indicate that the tonic center is frequently rendered ambiguous and that plagal progressions and cadenceless endings reflect characteristics of Chopin’s late compositional style. The interaction between the steady rhythmic framework in the left hand and the application of rubato in the right hand creates a balanced relationship between dance and lyrical expression. Moreover, the short, fragmented, and resolution-oriented nature of the motifs contributes to a simple yet profound musical narrative. The study demonstrates how modality, rhythm, and texture function as integrated expressive tools in Chopin’s late mazurkas and offers implications for both performance practice and pedagogical interpretation.

Keywords

• Chopin
• mazurka
• modal analysis
• texture analysis
• late-style mazurkas.

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