Abstract
This study was designed to evaluate the relationship and interaction between music analysis, music theory and music performance within the scope of Classical Western Music. Music analysis and music theory, especially when approached from a perspective that emphasizes the performative aspect of music, are often treated as interchangeable concepts. From the same perspective, the relationship between music analysis and performance, as well as how analysis reflects artistic production, is also a matter of debate. This skepticism arises from the tendency to associate analysis with the theoretical aspects of a musical piece and performance with its artistic aspects. The categorical difference between the academic publications of the theoretical field and the concerts and recitals of musical performance sometimes portrays the two areas as opposites. However, analysis is a tool used by both theorists and performers; both music theory and analysis, as well as musical performance, treat the musical work as an artistic product and are grounded in the artistic qualities of the work. Particularly in the second half of the 20th century, new approaches to the interaction between analysis and performance have been developed, and this topic has been addressed in the works of many music scholars. Music is an art that allows a score with clear objective aspects to transform into different interpretations through various performances, while also enabling subjective intellectual inferences through objective methods and principles. The two fields converge on the common ground of realizing a text with clear ‘objective’ aspects through ‘interpretation.’ This study aims to explore the relationship between music analysis, theory, and performance, as well as the role of interpretation in connecting music analysis and musical performance. In the first step of the study, the relationship between music theory and analysis is defined, followed by a discussion of the subjective aspects of music analysis, which is evaluated through the concept of ‘openness to interpretation,’ which constitutes the essence of the musical work. In the final step of the study, the influence of style on these areas is investigated, and it is demonstrated that style is a determining factor not only in performance but also in the process of music analysis.
References
- Berry, W. (1990). Musical structure and performance. Yale University Press.
- Burnham, S. (2008). Form. T. Christensen (Ed.), The Cambridge history of western music theory içinde (s. 880-906). Cambridge University Press. https://doi.org/10.1017/CHOL9780521623711.030
- Caplin, W. E. (1998). Classical form. Oxford University Press.
- Cone, E. (1968). Musical form and musical performance. Norton.
- Cone, E. (1969). Behind the beyond: Mr. Cone replies. Perspectives of New Music, 7(2), 70-72.
- Cook, N. (1987). Musical form and the listener. The Journal of Aesthetics and Art Criticism, 46(1), 23-29.
- Cook, N. (1994). A guide to musical analysis. Oxford University Press.
- Dunsby, J. (1989). Guest editorial: Performance and analysis of music. Music Analysis, 8(1-2), 5-20.
- Dunsby, J. ve Whittall, A. (1988). Music analysis in theory and practice. Yale University Press.
- Forte, A. (1982). Introduction to Schenkerian analysis. W. W. Norton & Company.
- Hatten, R. (1994). Beethoven: Markedness, correlation, and interpretation. Indiana University Press.
- Hepokoski, J. ve Darcy, W. (2011). Elements of sonata theory. Oxford University Press.
- Hodeir, A. (1971). Müzikte türler ve biçimler (İ. Usmanbaş, Çev.). Pan Yayıncılık.
- Hyer, B. (1990). Tonal intuitions in “Tristan und Isolde” (Yayın No. 9016457) [Doktora tezi, Yale University]. ProQuest Dissertations and Theses Global.
- Kerman, J. (1985). Contemplating music. Harvard University Press.
- Kivy, P. (1993). The fine art of repetition. Cambridge University Press.
- Lerdahl, F. ve Jackendoff, R. (1983). A generative theory of tonal music. MIT Press.
- Lewin, D. (1969). Behind the beyond: A response to Edward T. Cone. Perspectives of New Music, 7(2), 59-69.
- Meyer, L. B. (1989). Style and music. The University of Chicago Press.
- Narmour, E. (1988). On the relationship of analytical theory to performance and interpretation. E. Narmour ve R. Solie (Ed.), Explorations in music, the art, and ideas içinde (s. 317-340). Pendragon Press.
- Palisca, C. ve Bent, I. (1980). Theory, theorists. S. Sadie (Ed.), The new grove dictionary of music and musicians içinde (s. 741-762). Macmillan Publishers.
- Pearsall, E. (1999). Mind and music: On intentionality, music theory, and analysis. Journal of Music Theory, 43(2), 231-255.
- Rink, J. (1990). Review of wallace berry, musical structure and performance. Music Analysis, 9, 319-339.
- Rink, J. (2002). Analysis and (or?) performance. J. Rink (Ed.), Musical performance – a guide to understand içinde (s. 35-58). Cambridge University Press.
- Rosen, C. (2002). Piano notes-the world of the pianist. Free Press.
- Rothstein, W. (1995). Analysis and the act of performance. J. Rink (Ed.), The practice of performance içinde (s. 217-240). Cambridge University Press.
- Samson, J. (2014). The musical work and nineteenth-century history. J. Samson (Ed.), Nineteenth-century music içinde (s. 3-27). Cambridge University Press.
- Schmalfeldt, J. (1985). On the relation of analysis to performance: Beethoven’s Bagatelles Op. 126, Nos. 2 and 5. Journal of Music Theory, 29, 1-31.
Abstract
Bu çalışma Klasik Batı Müziği kapsamında müzik analizi, müzik teorisi ve müzik performansı arasındaki ilişki ve etkileşimi değerlendirmek amacıyla oluşturulmuştur. Müzik analizi ile müzik teorisi, özellikle müziği performans yönünü öne çıkaran bir perspektiften yaklaşıldığında, çoğu zaman birbirinin yerine geçen kavramlar şeklinde ele alınır. Aynı perspektiften bakıldığında müzik analizinin performans ile ilişkisi ve analizin sanatsal üretime ne şekilde yansıdığı da tartışmalıdır. Bu şüphe, analizin müzik parçasının teorik yanıyla, performansın ise sanatsal tarafıyla ilişkili olarak ele alınmasından doğar. Teorik alanın akademik yayınları ile müzikal performansın konser ve resitalleri arasındaki kategorik fark, iki alanı kimi zaman birbirinin karşıtıymış gibi gösterir. Oysaki analiz, teorisyenin da icracının da kullandığı bir gereçtir; gerek müzik teorisi ve müzik analizi gerekse müzik performansı, müzik yapıtını bir sanat ürünü olarak ele alır ve eserin sanatsal nitelikleri üzerine temellenir. Özellikle 20. yüzyılın ikinci yarısında analiz ve performans alanları arasındaki etkileşim üzerine yeni yaklaşımlar geliştirilmiş ve bu konu birçok müzik yazarının çalışmasında ele alınmıştır. Müzik, nesnel yönleri belirgin olan bir partisyonun hem farklı performanslar yoluyla farklı yorumlara dönüşmesine hem de öznel düşünsel çıkarımlara nesnel yöntem ve ilkeler yoluyla ulaşılmasına imkân tanıyan bir sanattır. İki alan, ‘nesnel’ yönleri belirgin olan bir metnin ‘yorum’ yoluyla gerçekleştirilmesi ortak paydasında birleşir.
Bu çalışma, müzik analizinin teori ve performans ile ilişkisini ve yorum olgusunun müzik analizi ile müzik performansı arasındaki bağlantı kurma işlevini araştırmayı amaçlar. Çalışmanın ilk adımında müzik teorisi ve müzik analizi arasındaki ilişki tanımlanmış, ardından müzik analizinin öznel yanlarına değinilmiş ve bu öznellik ilişkisi, müzik yapıtının özünü oluşturan ‘yoruma açıklık’ olgusu üzerinden değerlendirilmiştir. Çalışmanın son adımında üslubun bu alanlara etkisi araştırılmış ve performans kadar müzik analizi sürecinde de üslubun belirleyici bir etken olduğu gösterilmiştir.
References
- Berry, W. (1990). Musical structure and performance. Yale University Press.
- Burnham, S. (2008). Form. T. Christensen (Ed.), The Cambridge history of western music theory içinde (s. 880-906). Cambridge University Press. https://doi.org/10.1017/CHOL9780521623711.030
- Caplin, W. E. (1998). Classical form. Oxford University Press.
- Cone, E. (1968). Musical form and musical performance. Norton.
- Cone, E. (1969). Behind the beyond: Mr. Cone replies. Perspectives of New Music, 7(2), 70-72.
- Cook, N. (1987). Musical form and the listener. The Journal of Aesthetics and Art Criticism, 46(1), 23-29.
- Cook, N. (1994). A guide to musical analysis. Oxford University Press.
- Dunsby, J. (1989). Guest editorial: Performance and analysis of music. Music Analysis, 8(1-2), 5-20.
- Dunsby, J. ve Whittall, A. (1988). Music analysis in theory and practice. Yale University Press.
- Forte, A. (1982). Introduction to Schenkerian analysis. W. W. Norton & Company.
- Hatten, R. (1994). Beethoven: Markedness, correlation, and interpretation. Indiana University Press.
- Hepokoski, J. ve Darcy, W. (2011). Elements of sonata theory. Oxford University Press.
- Hodeir, A. (1971). Müzikte türler ve biçimler (İ. Usmanbaş, Çev.). Pan Yayıncılık.
- Hyer, B. (1990). Tonal intuitions in “Tristan und Isolde” (Yayın No. 9016457) [Doktora tezi, Yale University]. ProQuest Dissertations and Theses Global.
- Kerman, J. (1985). Contemplating music. Harvard University Press.
- Kivy, P. (1993). The fine art of repetition. Cambridge University Press.
- Lerdahl, F. ve Jackendoff, R. (1983). A generative theory of tonal music. MIT Press.
- Lewin, D. (1969). Behind the beyond: A response to Edward T. Cone. Perspectives of New Music, 7(2), 59-69.
- Meyer, L. B. (1989). Style and music. The University of Chicago Press.
- Narmour, E. (1988). On the relationship of analytical theory to performance and interpretation. E. Narmour ve R. Solie (Ed.), Explorations in music, the art, and ideas içinde (s. 317-340). Pendragon Press.
- Palisca, C. ve Bent, I. (1980). Theory, theorists. S. Sadie (Ed.), The new grove dictionary of music and musicians içinde (s. 741-762). Macmillan Publishers.
- Pearsall, E. (1999). Mind and music: On intentionality, music theory, and analysis. Journal of Music Theory, 43(2), 231-255.
- Rink, J. (1990). Review of wallace berry, musical structure and performance. Music Analysis, 9, 319-339.
- Rink, J. (2002). Analysis and (or?) performance. J. Rink (Ed.), Musical performance – a guide to understand içinde (s. 35-58). Cambridge University Press.
- Rosen, C. (2002). Piano notes-the world of the pianist. Free Press.
- Rothstein, W. (1995). Analysis and the act of performance. J. Rink (Ed.), The practice of performance içinde (s. 217-240). Cambridge University Press.
- Samson, J. (2014). The musical work and nineteenth-century history. J. Samson (Ed.), Nineteenth-century music içinde (s. 3-27). Cambridge University Press.
- Schmalfeldt, J. (1985). On the relation of analysis to performance: Beethoven’s Bagatelles Op. 126, Nos. 2 and 5. Journal of Music Theory, 29, 1-31.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Music Performance, Theories of Music |
| Journal Section | Research article |
| Authors | |
| Publication Date | April 30, 2025 |
| Submission Date | March 9, 2025 |
| Acceptance Date | April 27, 2025 |
| Published in Issue | Year 2025 Volume: 10 Issue: 2 |
