Müzik Analizinde Schenker Yaklaşımı

Year 2019, , 21 - 46, 28.06.2019

Ebru Bulur

https://doi.org/10.26650/CONS2019-0004

Abstract

20. yüzyıl, bestecileri geleneksel kurallardan vazgeçiren bir yüzyıl olmuştur. Tonal düzenin getirdiği kurallara karşı çıkan pek çok akım, yeni denemelere girişen besteciler, çağa damgasını vurmuştur. Viyanalı müzik kuramcısı Heinrich Schenker’in (1868–1935) bu kadar yeni akımın içinde tonaliteye sadık kalan ve tüm analizini tonik akoru ve onun açılımları üzerine kurgulaması, ister istemez oldukça dikkat çekicidir. Bu makale, Schenker analizini, genel başlıklar altında inceleme amacıyla gerçekleştirilmiştir. Schenker’in kariyeri boyunca geliştirdiği fikirler ana hatlarıyla anlatılmaya çalışılmış, Schenker analizi genel kavramlar, armonik yapı, melodik kavramlar ve grafik notasyon, başlıkları altında örneklerle incelenmiştir. İlgili kaynaklara, bilimsel araştırmalara, analizlere, literatür taraması yoluyla ulaşılmıştır. Eser analizi yapılmamış, tekniği anlatabilmek için literatürden seçilmiş örnekler kullanılmıştır. 20. yüzyılda ortaya çıkan yeni analiz yöntemlerinin birkaçına genel olarak değinilmiş, ancak tüm bu yöntemlerin başlı başına başka bir araştırma konusu olması nedeniyle detaylandırılmamıştır. Schenker analizi hakkında Türkçe kaynakların sınırlı sayıda olması nedeniyle bu makale literatür eksikliğini bir nebze gidermeyi ve Schenker analizi hakkında genel bir fikir vermeyi amaçlamaktadır.

Keywords

Schenker, Müzik Analizi, Tonalite

Schenker Approach in Music Analysis

Abstract

20th century is a period when composers abandoned traditional norms. Various trends defying norms imposed by tonal harmony and composers who experimented with new forms left their imprint in last century. It is striking that Heinrich Schenker (1868–1935), Viennese music theorist, remained faithful to tonality, structured his analysis on tonic triad and derivations despite new trends. Schenker in this theory explained basic structure of musical pieces and hierarchical relations through technique of prolongation. This article aims to evaluate the Schenkerian analysis, under general headings. Hereby, ideas that Schenker developed over lifetime are provided in general; Schenkerian analysis is observed with examples in general section terms, harmonic structure, melodic notions, graphic notation. Analysis of work is avoided and to describe the technique, selection of samples, chosen from literature is used. Related resources are obtained through literature survey of relevant academic researches and analyses. Some new analysis techniques, that emerged in 20th century are briefly mentioned in essay but not examined in detail since each of them is topic of separate research. Due to limited number of Turkish sources on Schenker’s analysis, this article aims to remedy this deficiency in literature and provide general information on Schenker analysis.

Keywords

Schenker, Musical Analysis, Tonality

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