BAROK MÜZİĞİN POETİĞİ: ESTETİK, İCRA GELENEKLERİ, YORUMLAMA

Öz

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.

Anahtar Kelimeler

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

POETICS OF MUSICAL BAROQUE: AESTHETICS, PERFORMING TRADITIONS, INTERPETATION

Öz

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.

Anahtar Kelimeler

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

Kaynakça

1. Barbier, P. (1998). The world of the Castrati: The history of an extraordinary operatic phenomenon. Chicago: Souvenir Press.
2. Bermes, І. (2023). Chamber choir as creative entity (case study of Drohobych’s "Legend". Notes on Art Criticism, 23(2), 82-87. http://dx.doi.org/10.32461/2226-2180.44.2023.293924.
3. Braithwaite, T. (2020). An overview of the history of the countertenor voice and falsetto singing. https://www.cacophonyhistoricalsinging.com/_files/ugd/a5f0e3_a51f942171324376a6b2c3880c747a33.pdf.
4. Brittain, K.A.G. (1996). A performer’s guide to Baroque vocal ornamentation as applied to selected works of George Frideric Handel. http://libres.uncg.edu/ir/uncg/f/Brittian_uncg_9632125.pdf.
5. Cherkashina-Gubarenko, M.R. (2004). Handel’s operas in the mirror of theory and practice. Scientific Journal Artistic Culture. Topical Issues, 1, 57-68.
6. Cumbow, R.C. (1985). Julius Caesar. The Opera Quarterly, 3(3), 187-189.
7. de Almeida Ribeiro, F. (2023). Being the other: defamiliarization processes in musical composition. Musica Hodie, 23, e73322. http://dx.doi.org/10.5216/mh.v23.73322 .
8. Dean, W., Knapp, J.M. (2009). Handel’s operas, 1704-1726. Martlesham: Boydell Press.

9. Dugnani, B.L., Stella, P.R., Rosa, C.G., Brait, B., Pistori, M.H.C. (2023). Ethical Answerability in Science, Art, and Life. Bakhtiniana, 18(2), 2-8. http://dx.doi.org/10.1590/2176-4573P61712.
10. Gigolaeva, V.O. 2008. Gender aspect in music theory and practice. Problems of Interaction between Art, Pedagogy and Practice of Education, 21, 228-236.
11. Gonçalves, J.C. (2024). What Is (Not) Aesthetic Education? Bakhtiniana, 19(2), e63561e. http://dx.doi.org/10.1590/2176-4573e63561.
12. Govorukhina, N.O. (2017). «The art of countertenors in the contemporary cultural space». Aspects of Historical Musicology, 10: 252-265.
13. Govorukhina, N.O. (2018). An overview of the actualization of countertenor art in the culture of the XX-XXI centuries. In: Textbook of Vocal and Pedagogical Repertoire for Countertenor (pp. 4-8). Kharkiv: Estet Print.
14. Harnoncourt, N. (1995). Baroque music today: Music as speech: Ways to a new understanding of music. Cleckheaton: Amadeus Press.
15. Hogwood, C. (2007). Handel. London: Thames & Hudson.
16. Huzhva, О.Р., Mykolaichuk, N.V. (2019). Interpretation of Baroque vocal musical the contemporary stage. Musicological Opinion of Dnipropetrovsk Region, 16: 151-162. http://dx.doi.org/10.33287/22193.
17. Jasiński, T. (2015). The musical rhetoric of the Polish baroque. Berlin: Peter Lang Verlag.
18. Kalashnyk, M.P., Novikov, I.M., Varakuta, M.I., Genkin, A.O., Kupina, D.D. (2020). The prospects of the arts promotion in the context of limitations and consequences of self-isolation. International Journal of Criminology and Sociology, 9, 2984-2990. http://dx.doi.org/10.6000/1929-4409.2020.09.363.
19. Kim, K.-H., Chung, J.-K. (2023a). A study on ‘Arirang’ a Korean folk song that is being accepted worldwide. European Journal of Science and Theology, 19(1), 77-91.
20. Kliuchynska, N. (2022). Humor in the musical-didactic works of the Baroque period. Scientific Journal of Polonia University, 52(3), 60-65.
21. Mancini, G. (2017). Practical reflections on the figurative art of singing. London: Forgotten Books.
22. Melnyk, M. (2024). Theatre art: Conceptual and categorical problems. Interdisciplinary Cultural and Humanities Review, 3(1), 46-52. http://dx.doi.org/10.59214/cultural/1.2024.46.
23. Miranda Azzi, A.D.M., Barbeitas, F.T., Morales, J.P. (2024). Musical performance and its deterritorializing force. Musica Hodie, 24, e.79155. http://dx.doi.org/10.5216/mh.v24.79155.
24. Nikolayevskaya, Yu.V. (2017). Authentic performance strategy and its modern transformations. Aspects of Historical Musicology, 10, 180-198.
25. Nikolayevskaya, Yu.V. (2020). Homo Interpretatus in the musical art of the XX – early XXI centuries. Kharkiv: Fact.
26. Prokopov, S. (2019). J.S. Bach and G.F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students. Problems of Interaction Between Arts Pedagogy and the Theory and Practice of Education, 52, 22-37. http://dx.doi.org/10.34064/khnum1-52.02.
27. Ravens, S. (2014). The supernatural voice: A history of high male singing. Martlesham: Boydell Press.
28. Rawson, R.G. (2012). Bohemian baroque: Czech musical culture and style 1600-1750. Martlesham: Boydell Press. http://dx.doi.org/10.1515/9781782041931.
29. Rolland, R. (1984). Handel. Moscow: Music.
30. Sachok, V. (2023). Vocal training of foreign students: Artistic and pedagogical approaches and practices. Notes on Art Criticism, 23(1), 139-144. http://dx.doi.org/10.32461/2226-2180.43.2023.286851.
31. Ting, L. (2022). Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: Air de Cour. Aspects of Historical Musicology, 27, 73-96. http://dx.doi.org/10.34064/khnum2-27.05.
32. Xin, Y. (2022). The travestire tradition in the operas by G.F. Handel in the aspect of gender approach (on the example of interpretations of Ariodante’s part). Problems of Interaction Between Arts Pedagogy and the Theory and Practice of Education, 65, 99-117. http://dx.doi.org/10.34064/khnum1-65.06.