Research Article
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17TH - 19TH CENTURY PHYSICAL DEVELOPMENT OF THE GUITAR AND ITS EFFECTS ON PLAYING TECHNIQUES

Year 2024, Volume: 9 Issue: 1, 39 - 53, 30.06.2024
https://doi.org/10.31811/ojomus.1448815

Abstract

This study aims to reveal how the guitar went through a physical development process between the 17th and 19th centuries and how these development processes affected the guitar playing technique. In this study, comparative analysis and descriptive research method were used. In this study, Baroque Guitar, Romantic Guitar and Torres Guitar were physically analyzed and the playing techniques developed for these instruments were explained. Factual data were obtained through document analysis method. The study model of the research topic was created based on the data obtained from written sources such as articles, theses, theses and books published on related subjects. Baroque, classical and romantic periods were experienced in the 17th and 19th centuries in the history of music. Each period has its own artistic values. The need to express musical differences within the scope of these values has led to the development of instruments. The development and differences in the physical structure of the guitar enabled the development of innovations in grip, sitting and playing technique. Until the 19th century, many ideas about the guitar's grip, sitting and playing techniques have emerged. When the historical process of the guitar is analyzed, the constant change of its physical structure is a process in which new possibilities are sought and not yet completed. The change of physical structure and playing technique change according to these processes. As a result of the study, it was seen that the holding positions, right and left hand playing techniques of the Baroque guitar, Romantic guitar and Torres guitar went through a development process in the context of the musical possibilities of the period and the physical differences of the instruments; this process had an effect on the modern classical guitar technique and physical structure we use today.

References

  • Annala, H., & Matlik, H. (2007). Handbook of guitar and lute composers. Mel Bay Publications
  • Heck, T. F. (2004). The birth of the classical guitar and its cultivation in Vienna, refleccted in the career and compositions of mauro giuliani [Doctoral Dissertation, Yale University]. Scribd. https://www.scribd.com/document/241086509/
  • Ko, Y. F. (2009). An analytical and comperative study of franciso tarrega’s two volumes of guitar studies [Doctoral Dissertation, Ball State University]. Scribd. https://www.scribd.com/doc/248114641/
  • Madriguera, E. (1993). The hispanization of the guitar: From the guitar lattina to the guitarra espanola [Doctoral Dissertation, The University of Texas]. https://books.google.com.tr/books/about/The_Hispanization_of_the_Guitar.html?id=UE_sAAAAMAAJ&redir_esc=y
  • Morris, S. (2005). A study of the solo guitar repertoire of the early nineteenth century [Doctoral Dissertation, Claremont Graduate University]. Scribd. https://www.scribd.com/document/685282743/
  • Murphy, M. D. (2006). Elements ofstyle in french baroque guitar music: A survay of the printed sources [Doctoral Dissertation, Shenendoah University]. Shenendoah University.
  • Pennington, N. (1979). The development of baroque guitar music ın spain, ıncludinga commentaryon and trancription of santiago de murcia’s “pasacalles y obras”(1732) [Doctoral Dissertation, University Of Maryland]. ProQuest. https://www.proquest.com/openview/b5b22a071bbe27ab726694854b9a53bb/1?pqorigsite=gscholar&cbl=18750&diss=y
  • Russell, C. H. (1981). Santiago de murcia: Spanish theorist and guitarist of the early eighteenth century (with) volume two: Transcription and translation of santiago de murcia’s complete works [Doctoral Dissertation, University of North Carolina]. https://books.google.com.tr/books/about/Santiago_de_Murcia.html?id=Mkc3AQAAIAAJ&redir_esc=y
  • Say, A. (2006). Müzik tarihi. Müzik Ansiklopedisi Yayınları.
  • Turnbull, H. (1991). The guitar from the renaissaance to the present day. The Bold Strummer Ltd.
  • Turnbull, H., & Tyler, J. (1984). The new grove dictionary of musical instruments. MacMillan Press Limited. Tyler, J, (1980). The early guitar a history and handbook. Oxford University Pres.
  • Tyler, J., & Sparks, P. (2002). The guitar and its music: From the renaissaance to the classical era. Oxford University Pres.
  • Uluocak, S. (2011). Klasik gitar tarihi-I. Doruk Yayınları.
  • Uluocak, S. (2011). Klasik gitar tarihi-II. Doruk Yayınları.
  • Uluocak, S. (2014). Klasik gitar tarihi-III. Doruk Yayınları. Wade, G. (2001). A concise history of the classical guitar. Mal Bay Publications. Yıldırım, A., & Şimşek, H. (2016). Sosyal bilimlerde nitel araştırma yöntemleri. Seçkin Yayınları.

17. - 19. YÜZYILLAR ARASINDA GİTARIN FİZİKSEL GELİŞİMİNİN ÇALIM TEKNİKLERİNE ETKİLERİ

Year 2024, Volume: 9 Issue: 1, 39 - 53, 30.06.2024
https://doi.org/10.31811/ojomus.1448815

Abstract

Bu çalışmada, 17. ve 19. yüzyıllar arasında gitar enstrümanının fiziksel olarak nasıl bir gelişim sürecinden geçtiği ve bu gelişim süreçlerinin gitar çalım tekniklerine nasıl etkileri olduğunu ortaya koymak amaçlanmıştır. Bu araştırmada yöntem olarak karşılaştırmalı analiz ve betimsel araştırma yöntemi kullanılmıştır. Bu çalışmada Barok Gitar, Romantik Gitar ve Torres Gitarı fiziksel olarak incelenerek, çalgılar için geliştirilmiş olan çalım teknikleri açıklanmıştır. Olgusal veriler, doküman inceleme yöntemiyle elde edilmiştir. Müzik tarihinde 17. ve 19. yüzyıllarda barok, klasik ve romantik dönem etkileri ortaya çıkmış ve her bir dönem kendine özgü sanatsal değerlere sahip olmuştur. Bu değerler kapsamında müzikal açıdan farklılıkların ifade edilmesi ihtiyacı, çalgıların gelişmesini sağlamıştır. Gitarın fiziksel yapısındaki gelişim ve farklılıklar; tutuş, oturuş ve çalım tekniğinde yeniliklerin gelişmesine olanak sağlamıştır. 19.yüzyıla gelinceye kadar gitarın tutuş oturuş ve çalım tekniklerine ilişkin birçok fikir ortaya çıkmıştır. Gitarın tarihsel süreci incelendiğinde, fiziksel yapısının sürekli değişimi hakkında ve yeni çalım teknikleri hakkında birçok çalışmanın olduğunu görmek mümkündür. Çalışmanın sonucunda Barok gitar, Romantik gitar ve Torres gitarının tutuş pozisyonlarının, sağ ve sol el çalım tekniklerinin, dönemin müzikal olanakları ve çalgıların fiziksel farklılıkları bağlamında bir gelişim sürecinden geçtiği; bu sürecin günümüzde kullandığımız modern klasik gitar tekniği ve fiziksel yapısı üzerinde etkili olduğu görülmüştür.

References

  • Annala, H., & Matlik, H. (2007). Handbook of guitar and lute composers. Mel Bay Publications
  • Heck, T. F. (2004). The birth of the classical guitar and its cultivation in Vienna, refleccted in the career and compositions of mauro giuliani [Doctoral Dissertation, Yale University]. Scribd. https://www.scribd.com/document/241086509/
  • Ko, Y. F. (2009). An analytical and comperative study of franciso tarrega’s two volumes of guitar studies [Doctoral Dissertation, Ball State University]. Scribd. https://www.scribd.com/doc/248114641/
  • Madriguera, E. (1993). The hispanization of the guitar: From the guitar lattina to the guitarra espanola [Doctoral Dissertation, The University of Texas]. https://books.google.com.tr/books/about/The_Hispanization_of_the_Guitar.html?id=UE_sAAAAMAAJ&redir_esc=y
  • Morris, S. (2005). A study of the solo guitar repertoire of the early nineteenth century [Doctoral Dissertation, Claremont Graduate University]. Scribd. https://www.scribd.com/document/685282743/
  • Murphy, M. D. (2006). Elements ofstyle in french baroque guitar music: A survay of the printed sources [Doctoral Dissertation, Shenendoah University]. Shenendoah University.
  • Pennington, N. (1979). The development of baroque guitar music ın spain, ıncludinga commentaryon and trancription of santiago de murcia’s “pasacalles y obras”(1732) [Doctoral Dissertation, University Of Maryland]. ProQuest. https://www.proquest.com/openview/b5b22a071bbe27ab726694854b9a53bb/1?pqorigsite=gscholar&cbl=18750&diss=y
  • Russell, C. H. (1981). Santiago de murcia: Spanish theorist and guitarist of the early eighteenth century (with) volume two: Transcription and translation of santiago de murcia’s complete works [Doctoral Dissertation, University of North Carolina]. https://books.google.com.tr/books/about/Santiago_de_Murcia.html?id=Mkc3AQAAIAAJ&redir_esc=y
  • Say, A. (2006). Müzik tarihi. Müzik Ansiklopedisi Yayınları.
  • Turnbull, H. (1991). The guitar from the renaissaance to the present day. The Bold Strummer Ltd.
  • Turnbull, H., & Tyler, J. (1984). The new grove dictionary of musical instruments. MacMillan Press Limited. Tyler, J, (1980). The early guitar a history and handbook. Oxford University Pres.
  • Tyler, J., & Sparks, P. (2002). The guitar and its music: From the renaissaance to the classical era. Oxford University Pres.
  • Uluocak, S. (2011). Klasik gitar tarihi-I. Doruk Yayınları.
  • Uluocak, S. (2011). Klasik gitar tarihi-II. Doruk Yayınları.
  • Uluocak, S. (2014). Klasik gitar tarihi-III. Doruk Yayınları. Wade, G. (2001). A concise history of the classical guitar. Mal Bay Publications. Yıldırım, A., & Şimşek, H. (2016). Sosyal bilimlerde nitel araştırma yöntemleri. Seçkin Yayınları.
There are 15 citations in total.

Details

Primary Language Turkish
Subjects Musicology and Ethnomusicology
Journal Section Research article
Authors

Mesut Marangoz 0000-0003-4167-3538

Tuğçe Kaynak Akçaoğlu 0000-0003-2081-6982

Publication Date June 30, 2024
Submission Date March 19, 2024
Acceptance Date June 22, 2024
Published in Issue Year 2024 Volume: 9 Issue: 1

Cite

APA Marangoz, M., & Kaynak Akçaoğlu, T. (2024). 17. - 19. YÜZYILLAR ARASINDA GİTARIN FİZİKSEL GELİŞİMİNİN ÇALIM TEKNİKLERİNE ETKİLERİ. Online Journal of Music Sciences, 9(1), 39-53. https://doi.org/10.31811/ojomus.1448815