Bir Kavram, Çoklu Uygulamalar: Notasyon Kullanımı Üzerine Bir Ornek Uygulama Calısması: Dark Bright

Öz

Bu makale, tek bir temel müzikal fikirden yola çıkarak kullanılan notasyon biçiminin nasıl farklı ve özgün müzikal sonuçlar doğurabileceğini incelemektedir. Uygulama odaklı bir yaklaşım izleyerek ve bestecilik, doğaçlama ve transkripsiyon tekniklerinin farklı şekillerde kullanılması ve bilinçli bir şekilde öne çıkartılması veya göz ardı edilmesi gibi yöntemlerle bir müzik eserinin farklı versiyonlarının nasıl ortaya çıka bileceği araştırılmaktadır. Burada sabit formlara odaklanmak yerine, müzikal atmos ferler, keşif alanları ve ses tabanlı etkileşimlerin gerçekleşmesi ön planda tutularak, müzikal partisyonlar ve notasyonlara ilişkin Avrupa-merkezli geleneklerin ötesine geçen ve müzikal üretim sürecinde kolektif yaratım ve empatiyi teşvik eden post kolonyalbiryaklaşımsavunulmaktadır.Süreçteortayaçıkmışolanherbiresermüzikal f ikirlerin icracılara aktarılması boyutunda da farklı bir yaklaşıma karşılık gelmektedir. Ayrıca eserlerde kullanılan notasyon biçimi her bir eserin kendi özel şartlarına uygun olarak belirlenmiştir. Ortaya çıkan müzik eserleri ve bunların karşılaştırılması ile elde edilen bulgular, bir yandan besteci ve icracı rollerinin arasındaki akışkanlığı vurgu larken, bir yandan da—besteci ile beste arasında gözle görülür bir uyumun kaybol mamasına özen göstermek şartıyla—yaratıcı sorumluluğun dağılımındaki değişimin daha sıkı bir işbirliği barındıran ve kültürel geçişlere izin veren müziklerin icrasına tanıyacağı olanaklara işaret etmektedir.

Anahtar Kelimeler

• Bestelemek
• doğaçlama
• notasyon

One Concept, Multiple Realizations A Case Study on Notation in Compositional Practice: Dark Bright

Öz

This paper explores how diverse modes of notation, grounded in a single germinal idea, can yield multiple, distinct musical outcomes. Through a practice-based ap proach, the study investigates how different iterations of a musical work can emerge by employing, suppressing, or accentuating compositional, improvisational, and tran scriptional techniques. Rather than focusing on fixed forms, the study highlights the creation of musical atmospheres, spaces for exploration, and sound-based interaction, promoting a post-colonial approach to musical scores and notation that moves beyond Eurogenetic traditions. This approach encourages collective authorship and empathy within the process of musical generation. Each work employs a different approach to the communication of musical ideas to performers, with the choice of notational or scoring modality tailored to the specific circumstances of each piece. The resulting compositions, and conclusions based on comparing their outcomes, underscores the f luidity between composer and performer roles, reflecting on how shifting creative ownership can lead to more collaborative and transcultural music-making, while still allowing for a recognizable cohesion connecting the composition to its composer.

Anahtar Kelimeler

• Composition
• improvisation
• notation

Kaynakça

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