Publication: Paul Hindemith’in flüt edebiyatındaki yeri
Abstract
Bu çalışma, 20. yüzyıl müziğinin Alman bestecisi, icracısı ve eğitimcisi olanPaul Hindemith’in hayatı, yaşadığı dönem, müzik anlayışı, Türk çoksesli müziğine vedünya flüt literatürüne katkıları hakkında inceleme yapmak ve yazdığı Flüt ve PiyanoSonatı’nın icrası ve analizi ile flütistlere ışık tutmasını amaçlamaktadır.Bu çalışmanın literatür tarama yöntemiyle hazırlanan ikinci bölümünde PaulHindemith’in hayatı, yaşadığı dönemin özellikleri, müzik anlayışı, Türk çokseslimüziğine katkıları ve bestecinin flüt müziği irdelenmiştir.Çalışmanın üçüncü bölümünde sonat formunun tarihsel gelişimi veHindemith’in 1936’da bestelediği Flüt ve Piyano Sonatı’nın yazılma süreci anlatılmışve eser analiz yöntemiyle incelenmiştir.20. yüzyılın önemli bestecilerinden olan Hindemith, Yeni-Klasikçilik akımınınönde gelen bestecilerindendir. Bu akımda, yalın ve daha anlaşılır bir müzik anlayışınınyeniden yaratılması temel amaçtır. İncelemesi yapılmış olan bu sonat, Yeni-Klasikçiliktanımına uygun bir eserdir. Hindemith’in 1936 yılında Berlin’de yazdığı Flüt ve PiyanoiiSonatı üç bölümden oluşmaktadır: I) Heiter bewegt, II) Sehr langsam, III) Sehr lebhaftve Marsch. Eserin birinci bölümü Sonat Allegrosu formunda yazılmıştır. Bölümde canlıve neşeli bir karakter hâkimdir. Çok yavaş tempoda ve bölümün bazı kısımlarında sakinçalınması istenilen ikinci bölüm Gelişmiş 2 Bölmeli Lied formundadır. Sonatın üçüncübölümü iki kısımdan oluşmaktadır: Sehr lebhaft ve Marsch. İki ayrı yapının yer aldığı,iki kısımdan oluşan bu bölümün ilki olan Sehr lebhaft, çok canlı ve dinamik karakterlibir Rondo’dur. Son bölümün diğer kısmı olan Marsch ise Gelişmiş 3 Bölmeli Liedformundadır.Bu çalışmada kullanılmış olan nitel bilgiler kaynak tarama yöntemi ileincelenmiş ve bestecinin kendi yazdığı kitaplardan yararlanılmıştır. Sonatınbölümlerinin analizi tablolaştırılarak gösterilmiştir.
This paper aims at examining the life, period and musical understanding of 20thcentury German composer, performer and instructor Paul Hindemith, his contributionsto polyphonic Turkish music and world flute literature, and enlightening flutists on theperformance and analysis of his Sonata for Flute and Piano.The second section of the paper, which was prepared by literature review,studies Paul Hindemith's life, characteristics of his period, his music style, hiscontributions to polyphonic Turkish music and his flute music.The third section of the paper describes the historical development of sonataform and Hindemith's process of composing Sonata for Flute and Piano in 1936, andincludes an analysis of the sonata.An important 20th century composer, Hindemith was one of the leaders of theneoclassical movement, the primary goal of which was to recreate a simple and moreperceptible type of music. The sonata analyzed fits the description of neoclassicalivmusic. Sonata for Flute and Piano, composed by Hindemith in Berlin in 1936, consistsof three movements: I) Heiter bewegt, II) Sehr langsam, III) Sehr lebhaft and Marsch.The first movement was composed in sonata-allegro form, and is dominated by a livelyand joyful character. The second movement, played very slowly and calmly in certainparts, is in small binary lied form. The third movement of the sonata consists of twoparts: Sehr lebhaft and Marsch. The first of the two differently structured sections, Sehrlebhaft, is a very animated and dynamic rondo. Marsch, the latter section, is in smallternary lied form.Qualitative information used in this paper was analyzed by literature review,and books written by the composer himself were utilized. Tabulated analyses of themovements of the sonata are also presented.
This paper aims at examining the life, period and musical understanding of 20thcentury German composer, performer and instructor Paul Hindemith, his contributionsto polyphonic Turkish music and world flute literature, and enlightening flutists on theperformance and analysis of his Sonata for Flute and Piano.The second section of the paper, which was prepared by literature review,studies Paul Hindemith's life, characteristics of his period, his music style, hiscontributions to polyphonic Turkish music and his flute music.The third section of the paper describes the historical development of sonataform and Hindemith's process of composing Sonata for Flute and Piano in 1936, andincludes an analysis of the sonata.An important 20th century composer, Hindemith was one of the leaders of theneoclassical movement, the primary goal of which was to recreate a simple and moreperceptible type of music. The sonata analyzed fits the description of neoclassicalivmusic. Sonata for Flute and Piano, composed by Hindemith in Berlin in 1936, consistsof three movements: I) Heiter bewegt, II) Sehr langsam, III) Sehr lebhaft and Marsch.The first movement was composed in sonata-allegro form, and is dominated by a livelyand joyful character. The second movement, played very slowly and calmly in certainparts, is in small binary lied form. The third movement of the sonata consists of twoparts: Sehr lebhaft and Marsch. The first of the two differently structured sections, Sehrlebhaft, is a very animated and dynamic rondo. Marsch, the latter section, is in smallternary lied form.Qualitative information used in this paper was analyzed by literature review,and books written by the composer himself were utilized. Tabulated analyses of themovements of the sonata are also presented.