BAROK MÜZİĞİN POETİĞİ: ESTETİK, İCRA GELENEKLERİ, YORUMLAMA

Abstract

Makalenin amacı, müzikal barok poetikasının bileşenlerinin kavranmasına dayalı olarak, küreselleşme çağında kültürel sürecin otantik örnekleri olarak antik stillerin ve türlerin yorumlanmasıyla ilgili çağdaş müzik kültüründeki performans stratejilerini belirlemektir. Araştırma metodolojisi, bu konunun kapsamlı bir şekilde incelenmesi için gerekli olan bilişsel, yorumlayıcı, tarihsel ve stilistik yaklaşımlara dayanmaktadır. Performansın toplumsal cinsiyet özelliği vurgulanmaktadır. Yazar, otantik “opera metni ‘ne toplumsal cinsiyet yaklaşımının hakim olduğu ikonik eserleri (Dardano'nun ’Galyalı Amadis” operasının II. perdesinden “Pena tiranna” aryası) ve performansları (G.F. Handel'in “Julius Caesar” operasından Sesto bölümü) analiz eder; çağdaş sanatta kontrtenorun rolü, tarihsel olarak bilgilendirilmiş performans açısından karakterize edilir. Antik vokal müziğin icrasında kontrtenor sanatının büyük popülaritesi ve yayılmasıyla bağlantılı olarak, V.O. Gigolaeva'nın kavramının geliştirilmesinde bir performans stratejisi olarak cinsiyet kimliği sorunu ortaya çıkmıştır. Sonuçlar, müzikal barok dönemin performans poetikasının bileşenlerini özetlemektedir: vokal ve enstrümantal düşüncenin eşitliği, ses taklidi, kontraltoda doğaçlama ve kişinin kendi kadanslarının performansı. Sesin içsel bir niteliği ve özelliği olan titreşim açısından Barok müziğin icrasındaki üslup farklılıkları ve icraya sınırsız olanaklar sağlayan renkli ses oluşturma yöntemleri belirtilmiştir.

Keywords

• kontrtenor ses
• enstrümantalizm
• vokal esneklik
• otantik performans stratejisi
• toplumsal cinsiyet ikircikliliği
• yorumlama

POETICS OF MUSICAL BAROQUE: AESTHETICS, PERFORMING TRADITIONS, INTERPETATION

Abstract

The purpose of the article is to identify performance strategies in contemporary musical culture that are related to the interpretation of ancient styles and genres as authentic examples of the cultural process in the age of globalization, based on the comprehension of the components of the poetics of the musical baroque. The research methodology is based on the cognitive, interpretive, historical and stylistic approaches necessary for a comprehensive study of this topic. The gender specification of performance is highlighted. The author analyses iconic works (Dardano's aria “Pena tiranna” from Act II of the opera “Amadis of Gaula”) and performances (the Sesto part from the opera “Julius Caesar” by G.F. Handel) in which the gender approach to the authentic “opera text” prevails; the role of the countertenor in contemporary art is characterized from the standpoint of historically informed performance. In connection with the great popularity and spread of the art of countertenors in the performance of ancient vocal music, the question of gender identification as a performance strategy has arisen, in the development of the concept of V.O. Gigolaeva. The conclusions outline the components of the performing poetics of the musical baroque era: the parity of vocal and instrumental thinking, sound imitation, improvisation on the contralto, and the performance of one's own cadences. The stylistic differences in the performance of Baroque music in terms of vibration, which is an inherent quality and characteristic of the voice, and methods of colourful sound formation that provide unlimited possibilities for performance are indicated.

Keywords

• countertenor voice
• instrumentalism
• vocal flexibility
• authentic performance strategy
• gender ambivalence
• interpretation

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