AN ANALYSIS OF TAKEMITSU’S VOICE (1971) THROUGH MUSICAL AESTHETICS, PERFORMANCE TECHNIQUES, AND PEDAGOGICAL ASPECTS

Yıl 2025, Cilt: 8 Sayı: 4, 4054 - 4083, 31.12.2025

Zehra Ezgi Kara , Seyhan Cihangir

https://doi.org/10.51576/ymd.1815629

Öz

ABSTRACT
This article explores Japanese composer Toru Takemitsu’s musical language through his solo flute work Voice (1971), by analyzing it from aesthetic, structural, and technical perspectives. The study examines Takemitsu’s synthesis of Eastern and Western traditions through the concepts of silence and timbre, highlighting the reflections of ma (meaningful silence) and sawari (intentional roughness) within the piece. The use of proportional notation, fermata markings, timbre-centered writing, and the integration of human voice with flute tone demonstrate the composer’s distinctive musical vision. Extended techniques such as microtonal inflections, glissando, pitch bending, aeolian sounds, whistle tones, flutter tongue, multiphonics, key sounds, and pizzicato are interpreted not only as signs of virtuosity but also as aesthetic and expressive tools. The study employed descriptive and document analysis. The composer’s writings, relevant scholarly studies, and sources related to the notation of the work were examined, and the resulting data were analyzed to reveal the aesthetic, technical, and structural characteristics of the piece. These findings were subsequently interpreted within a pedagogical framework that proposes a five-stage instructional model emphasizing breath, tone, expression, extended techniques, and performance awareness.

Anahtar Kelimeler

Toru Takemitsu , Japanese aesthetics , East-West synthesis , flute pedagogy , musical analysis

TAKEMITSU’NUN VOICE (1971) ESERİNİN MÜZİK ESTETİĞİ, İCRA TEKNİKLERİ VE PEDAGOJİK YAKLAŞIMLAR BAĞLAMINDA ANALİZİ

Öz

ÖZ
Bu makale, Japon besteci Toru Takemitsu’nun müzikal dilini solo flüt için yazdığı Voice (1971) adlı eseri üzerinden estetik, biçimsel ve teknik yönleriyle incelemektedir. Çalışma, Takemitsu’nun Doğu ve Batı kültürleri arasında kurduğu müzikal sentezi, sessizlik ve tını kavramlarıyla birlikte ele almakta; özellikle ma (anlamlı sessizlik) ve sawari (bilinçli tınısal pürüzler) anlayışlarının eserdeki yansımalarını ortaya koymaktadır. Eserin orantısal notasyonu, fermata kullanımı, tını merkezli yazımı ve insan sesiyle flüt sesinin birleşimi, bestecinin özgün müzikal düşüncesini göstermektedir. Bu eserdeki mikrotonal geçişler, glissando, pitch bending, hava sesleri, ıslık tonları, flutter tongue, multifonikler, perde sesleri ve pizzicato gibi ileri teknikler yalnızca bir virtüözlük aracı değil, aynı zamanda estetik bir ifade biçimi olarak değerlendirilmiştir. Araştırmada betimsel analiz ve doküman analizi yöntemleri kullanılmış; bestecinin yazıları, akademik çalışmalar ve eserin notasyonuna ilişkin kaynaklardan elde edilen veriler, eserin estetik, teknik ve biçimsel özelliklerini ortaya koymak amacıyla çözümlenmiş ve bulgular pedagojik bir çerçevede değerlendirilmiştir. Çalışma, flüt eğitimine yönelik olarak nefes, tını, ifade, ileri teknikler ve performans farkındalığını kapsayan beş aşamalı bir öğretim modeli önermektedir.

Anahtar Kelimeler

Toru Takemitsu , Japon estetiği , Doğu-Batı sentezi , müzik analizi , flüt eğitimi

Kaynakça

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