Müzik Analizinde Schenker Yaklaşımı

Year 2019, Volume: 6 Issue: 1, 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

References

• Babbitt, M. (1952). Review of “Structural hearing: tonal coherence in music” by Felix Salzer. Journal of the American Musicological Society(3), 260-265.
• Beach, D. (1969). A Schenker bibliography. Journal of Music Theory, 2-37. https://www.jstor.org/stable/843213 adresinden alındı
• Beduschi, L. ve Meeús, N. (2010). Schenkerian analysis at the Sorbonne. Music Theory Pedagogy Online (24), 159-173. Music Theory Pedagogy Online. adresinden alındı
• Brown, M. (1986). The diatonic and the chromatic in Schenker’s “Theory of harmonic relations”. Journal of Music Theory, 1-3. https://www.jstor.org/stable/843407 adresinden alındı
• Brown, M. (2005). Explaining tonality schenkerian theory and beyond. New York: University of Rochester Press.
• Cadwallader, A. ve Gagne, D. (1998). Analysis of tonal music: A schenkerian approach. New York: Oxford University Press.
• Cook, N. (1987). A guide to musical analysis . New York: Oxford University Press. Dallin, L. (1964). Techniques of twentieth century composition. Iowa: WM.C. Brown Company Publishers.
• Drabkin, W. (2002). Heinrich Schenker. (T. Christensen, Dü.) The Cambridge History of Western Music Theory, 812-843.
• Edward, A. ve Schachter, C. (2003). Harmony and voice leading. Belmont,Ca: Wadsworth.
• Forte, A. (1959). Schenker’s conception of musical structure. Journal of Music Theory, 3(1), 1-30. https://www.jstor.org/stable/842996 adresinden alındı
• Forte, A. (1962). The compositional matrix. New York.
• Forte, A. (1985). Pitch-class set analysis today. Music Analysis, 29-58. https://www.jstor.org/stable/854234 adresinden alındı
• Forte, A. ve Gilbert, S. E. (1982). Introduction to schenkerian analysis. New York: Norton
• Garrison, R. (2012-2013). Unrolling Schenker’s ideas of musical “Unfolding”. Theory and Practice, 111-138. https://www.jstor.org/stable/43864908 adresinden alındı
• Hansen, N. C. (2010). The legacy of Lerdahl and Jackendoff’s ‘A Generative Theory of Tonal Music’: Bridging a significant event in the history of music theory and recent developments in cognitive music research. Danish Yearbook og musicology, 33-55.
• Katz, A. T. (1935). Heinrich Schenker’s method of analysis. The Musical Quarterly, 21(3), 311-329. https://www.jstor.org/stable/41035686 adresinden alındı
• Larson, S. (1997). The problem of prolongation in “Tonal” music: Terminology, perception, and expressive meaning. Journal of Music Theory, 101-136. https://www.jstor.org/stable/843763 adresinden alındı
• Lerdahl, F. ve Jackendoff, R. (1983). A generative theory of tonal music. Massachusetts: MIT Pres. https://www.researchgate.net/publication/268189854 adresinden alındı
• Morgan, R. P. (1978). Schenker and the theoretical tradition: The concept of musical reduction. College Music Symposium, 18(1), 72-96. https://www.jstor.org/stable/40373919 adresinden alındı
• Morris, R. D. (1998). Voice-leading spaces. Music Theory Spectrum, 20(2), 175-208. https://www.jstor.org/stable/746047 adresinden alındı
• Sadie, S. (Dü.). (2001). The new grove dictionary of music and musicians (2 b., Cilt 1). New York: Oxford University Press.
• Sadie, S. (Dü.). (2001). The new grove dictionary of music and musicians (2 b., Cilt 25). New York: Oxford University Press.
• Salzer, F. (1952). Structural hearing: Tonal coherence in music Volume I. New York: Charles Boni.
• Say, A. (2002). Müzik sözlüğü. Ankara, Müzik Ansiklopedisi Yayınları
• Schenker, H. (1954). Harmony. (O. Jonas, Dü., & E. M. Borgeses, Çev.) Chicago, London: The University of Chicago Press.
• Schenker, H. (1969). Five graphic music analysis. New York: Dover.
• Schenker, H. (1979). Free composition ııı of musical theories and fantasies. (E. Oster, Çev.) New York: New York, London, Longman.
• Straus, J. N. (1987). The problem of prolongation in post-tonal music. Journal of Music Theory, 31(1), 1-21. https://www.jstor.org/stable/843544 adresinden alındı
• Temperley, D. (2011). Composition, perception, and schenkerian theory. Music Theory Spectrum, 33(2), 146-168. doi:10.1525/mts.2011.33.2.146
• Wadsworth, B. K. (2016). Schenkerian analysis for the beginner. Journal of Music Theory Pedagogy, 177-220.
• Yüksel, M. (2013). Schenker analizi: Robert Schumann, “Askerin Marşı”, opus 68/2 sol majör. Akdeniz Sanat Dergisi, 3(6), 163-168. http://dergipark.gov.tr/akdenizsanat/issue/18005/189134 adresinden alındı