Paris Konservatuvarı ve Arp Bölümü: Eğitimde Yapısal Bir Örnek

Yıl 2022, Cilt: VIII Sayı: 16, 172 - 196, 20.09.2022

Lilian Maria Tonella Tüzün , Gözde Ece Yavaş

Öz

On sekizinci yüzyılın sonlarında aydınlanma fikrinden esinlenen Fransız Devrimi, Batı tarihinde belirleyici sanatsal becerileri tetiklemiştir. Devrimin mirasları arasında, o zamandan beri Fransa'daki ana müzik okulları ve dünya çapında bir estetik referans olarak ün kazanan Paris Konservatuvarı'nın kurulması öne çıkmaktadır. Bu makale Paris Konservatuvarı'nın 226 yıllık tarihini gözden geçirmekte ve arp bölümünün oluşumu ve eğitim yapısına ayrıntılı olarak odaklanmaktadır. Bu bölüm, yalnızca eğitmenlerinin ve ödüllü öğrencilerinin prestijiyle değil, aynı zamanda bu enstrümanın kompozisyon alanına ve repertuvarının geliştirilmesine olan katkılarından dolayı küresel saygı kazanmıştır. İnceleme amacıyla konuyla ilgili bir literatür araştırması yapılmış ve bulgular betimleyici yönteme göre anlatılmıştır. Çalışma, estetik sosyolojik ve kurumsal ekonomik bir bakış açısıyla arpın evrimini bir Fransız zaferi olarak sentezliyor.

Anahtar Kelimeler

Fransız Devrimi, Paris Konservatuvarı, Arp Bölümü, Arp Öğretmenleri, Repertuvar

Kaynakça

• Referans1 Aber-Count, A. L. (2001)."Prumier, Antoine." Grove Music Online. Oxford University Press. DOI: https://doi.org/10.1093/gmo/9781561592630.article.43710 (Date of access 5 Nov. 2021).
• Referans2 Aktüze, İ. (2003). Understanding Music, Encyclopaedic Dictionary of Music. Istanbul : Pan Publishing, 2003 (3rd edition 2010).
• Referans3 Blassel, S. (2007). “Les harpes Pleyel”. Le Bulletin de l'AIHAH 45. https://www.sylvain-blassel.com/en/pleyel-harps-2 (Date of access 7th Oct. 2021).
• Referans4 Chen, L. F. (2008) “The Emergence of the Double-Action Harp as the Standard Instrument: Pleyel’s Chromatic Harp and Erard’s Double-Action Harp”. University of Miami, https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12355350320002976. (Date of access 5 Nov. 2021).
• Referans5 Cook, E., Anderson, G., Payne, T., Heartz, D., Freedman, R., Anthony, J., Eby, J., Cook, E., Wilcox, B., Rice, P., Charlton, D., Trevitt, J., Gosselin, G., & Pasler, J. (2001) “Paris”. Grove Music Online, 2001. Oxford University Press. DOI: https://doi.org/10.1093/gmo/9781561592630.article.40089 (Date of access 15th Nov. 2020).
• Referans6 Crocker, S. K. (2013). The descriptive miniatures of Alphonse Hasselmans and Henriette Renié: an examination of the pedagogical and artistic significance of salon pieces for harp. PhD Thesis. University of Alabama Libraries.
• Referans7 DeVale, S., Lawergren, B., Rimmer, J., Evans, R., Taylor, W., Bordas, C., Fulton, C., Schechter, J., Thym-Hochrein, N., Devaere, H., & McMaster, M. (2001) "Harp." Grove Music Online. Oxford University Press. DOI: https://doi.org/10.1093/gmo/9781561592630.article.45738 (Date of access 11 Oct. 2021).
• Referans8 Dowd, D. (1951). “Art as National Propaganda in the French Revolution”. Public Opinion Quarterly 15:3 (Fall): 532–546. DOI: https://doi.org/10.1086/266333 (Date of access 15th Nov. 2020).
• Referans9 Egan, Z. (2018). Ravel’s Introduction et allegro and the Modernization of the Harp. Hear Here!: 8-17.
• Referans10 Elwart, A. (1864). Histoire de la Société des concerts du Conservatoire impérial de musique, avec dessins, musique, plans, portraits, notices biographiques. Paris: Librairie Castel.
• Referans11 Erkan, S. (2008). French Revolution and Its Effects. Turkish World Studies, 177.
• Referans12 Gamboni, D. (1997). The Destruction of Art: Iconoclasm and Vandalism since the French Revolution. London: Reaktion Books.
• Referans13 Gombrich, E. H. (1986). The Story of Art. London: Phaidon Press.
• Referans14 Gossec, F. J. (1783). Instruction on the School of Vocal and Declamation // instituted in 1783 by decree of the Council of (autograph manuscript) Gossec, François Joseph. https://gallica.bnf.fr/ark:/12148/btv1b525127809/f1.item# (Date of access 15th Nov. 2020).
• Referans15 Govea, W. M. (1995). Nineteenth and Twentieth Century Harpists: A Bio-Critical Sourcebook. Greenwood Publishing Group.
• Referans16 Grimes, J. S. (1986). Marcel Tournier: Musicien complet. American Harp Journal 10: 3-15.
• Referans17 Haefner, J. (2001). “Renié Henriette”. Grove Music Online. DOI: https://doi.org/10.1093/omo/9781561592630.013.3000000241 (Date of access 30 Aug. 2021).
• Referans18 Haine, M. and Meeùs, N. (1986). Dictionnaire des facteurs d'instruments de musique. Editions Mardaga.
• Referans19 Hasselmans, A. (1913). La harpe et sa technique. Edite by A. Lavignac. Encyclopédie de la musique et dictionnaire du Conservatoire 2.3. Paris: 1935-1941.
• Referans20 Hondré, E. (1996). “The Paris Conservatory and the renewal of French vocal art.” Romantisme 26.93: 83-94. DOI: https://doi.org/10.3406/roman.1996.3128 (Date of access 30 Aug. 2021).
• Referans21 Huntley, E. (2008). Annals of the Harp: Germaine Tailleferre at the Paris Conservatory. The American Harp Journal 21.4 (Winter): 60.
• Referans22 Kant, I. (1952). The Critique of Judgement, trans. James Creed Meredith. Oxford: Clarendon Press, 42.55.
• Referans23 Mascia, R. (2018). Interpretational solutions for harp in Debussy’s Dance Sacrée et Profane. The thesis for the degree of Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg.
• Referans24 Mimaroğlu, İ. (1990). The history of Music. Istanbul : Varlık Publications.
• Referans25 Montesquiou, O. (1998). Henriette Renie et la harpe. Paris: Josette Lyon.
• Referans26 Muffitt, N. C. (2016). From Contest to Classic; A Review of Trombone Literature from the Paris Conservatoire. Kent State University. Orton, R. and Davies, H. (2001). "Ondes martenot." Grove Music Online. Oxford University Press. DOI: https://doi.org/10.1093/gmo/9781561592630.article.20343 (Date of access 15th Nov. 2020)
• Referans27 Philipp, I. and Martens, F. H. (1920). The French National Conservatory of Music. The Musical Quarterly 6.2: 214-226. Oxford University Press.
• Referans28 Pierre, C. (1900). Le Conservatoire national de musique et de déclamation: documents historiques et administraitifs. Paris: Menestrel, Heugel et Cie.
• Referans29 Rensch, R. (1989). Harps and harpists. Bloomington: Indiana University Press (Publication year: 2017).
• Referans30 Robert, F. and Clampin, F. (2001). "Labarre [Berry], Théodore(-François-Joseph)." Grove Music Online. Oxford University Press. DOI : https://doi.org/10.1093/gmo/9781561592630.article.15747 (Date of access 15th Nov. 2020)
• Referans31 Sarıca, M. (1970). The French Revolution in 100 Questions. Gercek Publisher.
• Referans32 Schwarzkopf, A. (2015). The life of Marcel Tournier and a guide to the performance practices of his music. The thesis for the degree of Doctor of Musical Arts, Faculty of Music University of Toronto.
• Referans33 Schwarzkopf, A. (2016). Marcel Tournier: artist, composer and teacher. The American Harp Journal 25.3: 18-25.
• Referans34 Swanson, C. (1984). Hasselmans Remembered by His Students. The American Harp Journal 9.3: 10-11, 14-15.
• Referans35 Swanson, C. (1999). Who Actually Wrote the Impromptu of Fauré? The American Harp Journal, 17.2: 39-41.
• Referans36 Tanilli, S. (2006). History of Civilization. İstanbul: Alkım Publisher.
• Referans37 Yavaş, G. E. (2018). The Harp Department of Paris Conservatory and Analysis of Gabriel Fauré’s Impromptu Op.86 No.6. Anadolu University, Graduate School of Fine Arts.
• Referans38 Zingel, H. J. (1976). Harp Music in the Nineteenth Century. Bloomington & Indianapolis: Indiana University Press, (Publication year: 1992).