HELMUT LACHENMANN'IN PİYANO DÖNGÜSÜ ÇOCUK OYUNU: SES ALANI YARATIMININ ÖZELLİKLERİ

Year 2025, Volume: 8 Issue: 2, 459 - 480, 30.06.2025

Valeriya Zharkova , Oleksandr Zharkov Olena Naumova Ganna Rizaieva Olena Sacalo

https://doi.org/10.51576/ymd.1669277

Abstract

Bu makalenin amacı, genç müzisyenler için modern ses tekniklerinin uyarlanmasına bir örnek olarak döngünün ses alanının özelliklerini analiz etmektir. Sanatsal ve pedagojik önemi de göz önünde bulundurulmaktadır. Araştırma yöntemi, her bir minyatürdeki ses alanının yapısal özelliklerinin ve karakteristiklerinin detaylı bir analizini içermektedir. Analitik yaklaşım, ses üretiminin benzersiz tekniklerine odaklanmaktadır. Analiz sonuçları, H. Lachenmann'ın Child's Play piyano döngüsünün genç icracılarda işitsel algı ve uzamsal düşüncenin gelişimi üzerinde önemli bir etkiye sahip olduğunu göstermektedir. Döngünün besteleri, “sessiz oktav” ve “uzun süreli notalar” gibi benzersiz yöntemler de dahil olmak üzere dinleyicilere modern ses dokuları ve teknikleri açıyor. Döngüdeki yedi parçanın her biri, ses üretimiyle ilgili deneylere olanak tanıyan, icracıyı avangart müzik dünyasına sokan ve böylece modern müzikal düşüncenin oluşumuna katkıda bulunan bağımsız bir müzikal minyatür görevi görüyor. Döngü yalnızca piyanonun olanaklarına dair anlayışı genişletmekle kalmaz, aynı zamanda icracıyı 20. yüzyıl avangart müziğinin teknikleriyle tanıştırarak pedagojik bir işlev de görür. Çalışmanın ana sonuçları, döngünün genç müzisyenlere modern ses tekniklerini öğretmek için bir kaynak olarak önemini vurgulamaktadır. İşitsel algıyı ve müzikal düşünceyi uyarır, çağdaş müziğe olan ilgiyi artırır ve yaratıcı algıyı geliştirir.

Keywords

varyasyon döngüsü , çocuk piyano albümü , ses , akustik , ses estetiği , fonik kompleks , müzik alanı

THE PIANO CYCLE CHILD’S PLAY BY HELMUT LACHENMANN: FEATURES OF SOUND SPACE CREATION

Abstract

The aim of this paper is to analyse the specifics of the sound space of the cycle as an example of the adaptation of modern sound techniques for young musicians. Its artistic and pedagogical significance is also considered. The research method includes a detailed analysis of the structural features and characteristics of the sound space in each miniature. The analytical approach focuses on the unique techniques of sound production. The results of the analysis show that the piano cycle Child’s Play by H. Lachenmann has a significant influence on the development of auditory perception and spatial thinking in young performers. The compositions of the cycle open up modern sound textures and techniques to the listeners, including such unique methods as the “silent octave” and “long-sustained notes”. Each of the seven pieces in the cycle serves as a self-contained musical miniature, allowing for experimentation with sound production, immersing the performer in the world of avant-garde music, thus contributing to the formation of modern musical thinking. The cycle not only expands the understanding of the possibilities of the piano but also performs a pedagogical function, introducing the performer to the techniques of 20th-century avant-garde music. The main conclusions of the study highlight the significance of the cycle as a resource for teaching young musicians modern sound techniques. It stimulates auditory perception and musical thinking, fosters an interest in contemporary music, and develops creative perception.

Keywords

variation cycle , children’s piano album , sound , acoustics , sound aesthetics , phonic complex , music space

References

• Akutsu, T. (2022). A new vision for implementing strings in P-12 schools. In: Information Resources Management Association (Ed.), Research Anthology on Music Education in the Digital Era (pp. 25-38). Pennsylvania: IGI Global. https://doi.org/10.4018/978-1-6684-5356-8.ch003
• Bazaluk, O. (2019). The revival of the notion of arete in contemporary philosophy. Schole, 13(1), 198-207. https://doi.org/10.25205/1995-4328-2019-13-1-198-207
• Bazaluk, O., Nezhyva, O. (2016). Martin Heidegger and fundamental ontology. Analele Universitatii din Craiova, Seria Filozofie, 38(2), 71-83. https://www.researchgate.net/publication/313719433_Martin_Heidegger_and_fundamental_ontology
• Bourg, A. (2021). An adidactic situation for piano learning. Education and Didactics, 15(2), 47-70. http://doi.org/10.4000/educationdidactique.8665
• Cavalotti, P. (2006). Differences: Poststructuralist aspects in the music of the 1980s as exemplified by Helmut Lachenmann, Brian Ferneyhough and Gérard Grisey. Schliengen: Edition Argus.
• Devaney, K., Fautley, M., Grow, J., Ziegenmeyer, A. (2023). Routledge companion to teaching music composition in schools: International perspectives. New York: Routledge. https://doi.org/10.4324/9781003184317
• Diachenko, A. (2024). The concept and essence of contemporary art. Notes on Art Criticism, 24(2), 44-51. https://doi.org/10.63009/noac/2.2024.44
• Feist, G.J. (2019). An evolutionary model of artistic and musical creativity. In: C. Martindale, P. Locher, V. Petrov, A. Berleant (Eds.), Evolutionary and Neurocognitive Approaches to Aesthetics, Creativity and the Arts (pp. 15-30). New York: Routledge. https://doi.org/10.4324/9781315224657-2
• Gras, G. (2020). (Non-electro) acoustic spectromorphology: From Denis Smalley to vocal instrumental music. Opus, 26(3). https://doi.org/10.20504/opus2020c2610
• Igamberdiev, A.U. (2024). Reflexive neural circuits and the origin of language and music codes. BioSystems, 246(3), 105346. https://doi.org/10.1016/j.biosystems.2024.105346
• Irving, D.R.M. (2024). The making of European music in the long eighteenth century. Oxford: Oxford University Press. https://doi.org/10.1093/oso/9780197632185.001.0001
• Kass, S. (2024). Technology and interspecies musical practice. Biosemiotics, 17(2), 565-585. https://doi.org/10.1007/s12304-024-09584-9
• Kelmendi, A. (2024). Sound identity as a phenomenon. Research on the cultural significance of music in ethnic and subcultural communities. Interdisciplinary Cultural and Humanities Review, 3(2), 16-23. https://doi.org/10.59214/сultural/2.2024.16
• Leipert, T. (2019). Lachenmann’s Silent voices (and the speechless echoes of Nono and Stockhausen). Twentieth-Century Music, 16(3), 589-619. https://doi.org/10.1017/S1478572219000021
• Lewis, J. (2019). Parents, children, and the popular music that binds them: New family dynamics and what they mean for community music. International Journal of Community Music, 12(1), 79-94. https://doi.org/10.1386/ijcm.12.1.79_1
• Lobanova, S., Kovalchuk, O., Melnychuk, O., Zabiiaka, I., Alyieva, A., Kanonik, N. (2023). Formation of Lexical Competence in Applicants for Education at Distance Learning (Experience of Foreign Scientists). World Journal of English Language, 13(4), 49-55. https://doi.org/10.5430/wjel.v13n4p49
• Madmarova, G.A., Ormokeeva, R.K., Rozykova, M.B., Boronova, K.R., Imasheva, G.A., Madmarova, G.A. (2023). Ethnonyms as Concepts of Foreign Culture in the Text of a Fiction. Advances in Science, Technology and Innovation, F1589, 539-541. https://doi.org/10.1007/978-3-031-34256-1_94
• Magas, D.C. (2024). Helmut Lachenmann’s Salut Für Caudwell (1977) today: Between structure and assemblage, between interpretation and experimentation. Tempo, 78(308), 6-23. https://doi.org/10.1017/S0040298223000943
• Nosenko, О. (2024). Immersive technologies in the formation of musical audio space. Notes on Art Criticism, 24(1), 23-32. https://doi.org/10.63009/noac/1.2024.23
• Puy, N.G.C. (2024). A twist on the historically authentic musical performance. Philosophical Studies, 181(10), 2661-2680. https://doi.org/10.1007/s11098-024-02199-3
• Pydiura, O. (2024). Composition and plot organization of cossack fantasy: The genre aspect. International Journal of Philology, 28(1), 92-106. https://doi.org/10.31548/philolog15(1).2024.010
• Romaniuk, O. (2021). Expression and interpretation of attraction and interpersonal intimacy: A comparative study of female nonverbal behaviour. Analele Universitatii din Craiova - Seria Stiinte Filologice, Lingvistica, 43(1-2), 220-237. https://doi.org/10.52846/aucssflingv.v43i1.18
• Romaniuk, O., Yavorska, L. (2022). Complimenting behaviour in young adults’ first impression scripts. Analele Universitatii din Craiova - Seria Stiinte Filologice, Lingvistica, 44(1-2), 168-187. https://doi.org/10.52846/aucssflingv.v44i1-2.58
• Schreiber, E. (2020). “Tote aber leben länger”: The second Viennese school and its place in the reflections of selected composers from the second half of the twentieth century (Lutosławski, Ligeti, Lachenmann, Harvey). Musicology, 28(1), 173-204. https://doi.org/10.2298/MUZ2028173S
• Shershova, T., Chaika, V. (2024). Cultural memory and memory culture. Humanities Studios: Pedagogy, Psychology, Philosophy, 12(1), 188-195. https://doi.org/10.31548/hspedagog15(1).2024.188-195
• Silvey, P.E. (2024). How music students in one high school perceive a valued musical composition. Bulletin of the Council for Research in Music Education, 239, 65-84. https://doi.org/10.5406/21627223.239.04
• Spytska, L. (2024). The difference in the world perception between a hysteric and a neurotic. Environment and Social Psychology, 9(6), 2229. https://doi.org/10.54517/esp.v9i6.2229
• Steliou, C., Jakubowski, K. (2024). A survey into piano teachers’ perceptions of music memorization in one-to-one piano lessons: A preliminary study. Music and Science, 7(1). https://doi.org/10.1177/20592043231225733
• Toktagazin, M.B., Adilbekova, L.M., Ussen, A.A., Nurtazina, R.A., Tastan, T.R. (2016). Epistolary literature and journalism: Theoretical and practical aspects. International Journal of Environmental and Science Education, 11(13), 5833-5843. https://files.eric.ed.gov/fulltext/EJ1115518.pdf
• Utz, C. (2020). On the poetics and interpretation of the open ending: Productions of spatio-temporal delimitation in modern music. Musikforschung, 73(4), 324-354. https://doi.org/10.52412/mf.2020.H4.3
• Utz, C. (2022). Is there noise in Helmut Lachenmann’s music? Temporal form and moments of presence in the string quartet gran torso. In: M. Delaere (Ed.) Noise as a Constructive Element in Music: Theoretical and Music-Analytical Perspectives (pp. 137-157). London: Routledge. https://doi.org/10.4324/9781003307020-11
• Varella, M.A.C. (2023). Nocturnal selective pressures on the evolution of human musicality as a missing piece of the adaptationist puzzle. Frontiers in Psychology, 14, 1215481. https://doi.org/10.3389/fpsyg.2023.1215481