Abstract
ÖZ
Klasik Dönem Batı Müziği’nde rastladığımız cümlesel ve periyodik yapılarla ilgili son dönemde yapılan sınıflandırma çalışmaları genel olarak bu yapıların kendi içindeki farklı türlerini ele almaktadır. Bu çalışmaların bazılarında, örneğin bir biçimsel yapıya hangi koşullarda cümle denebileceği; cümleyi oluşturan fikirlerin sayısı ve yapının sonunda kadans bulunmasının zorunlu olup olmadığı gibi sorulara yanıt aranmış ve yeni cümle türleri önerilmiştir. Her ne kadar periyodik yapıların cümlesel yapılara kıyasla daha az istisnası olsa da, bu yapıların armonik hedefleri üzerinde birtakım görüş ayrılıkları görülmektedir. Bu araştırmada ise cümlesel ve periyodik yapılar ayrı ayrı uzunlukları cinsinden kategorize edilmiştir. Her bir prototip uzunlukta yer alan bu yapılara bir isim önerisi yapılarak hem periyot hem de cümle yapısı için geçerli olmak üzere bir uzam tespit metodu önerilmiştir. Cümlesel ve periyodik yapılar için dörder sınıf belirlenmiş; incelenen yapıların bu sınıflardan hangisine ait olduğu kuramsal olarak açıklanarak biçimsel yapı analizinin paradigması genişletilmiştir. Ortak Uygulama Dönemi (Common Practice Period) içinde yer alan Bach, Haydn, Mozart ve Beethoven’ın çalgısal eserleri incelenerek, saptanan sekiz prototipin en rahat görülebildiği eserler örneklendirilmiştir.
References
- BaileyShea, M. (2004). Beyond the Beethoven model: Sentence types and limits. Current Musicology, 77(1), 5–33.
- Baileyshea, M. (2019). The Poetic Pre-History of Sentence Form. Music Theory Spectrum, 41(1), 126–145.
- Braunschweig, K. (2015). Expanding the Sentence: Intersections of Theory, History, and Aesthetics. Music Theory and Analysis (MTA), 2(2), 156-193.
- Caplin, W. E. (1998). Classical form: A theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven. Oxford University Press.
- Eason, A. C. (2019). Formal Functions in the Music of Arnold Schoenberg Doktora Tezi, University of Oregon.
- Forrest, D., & Santa, M. (2014). A Taxonomy of Sentence Structures. College Music Symposium, 54.
- Moortele, S. V. (2011). Sentences, Sentence Chains, and Sentence Replication: Intra-and Interthematic Formal Functions in Liszt’s Weimar Symphonic Poems. Intégral, 121-158.
- Pisters, R. K. P. (2012). Grouping structure and gesture: A sentence classification. Yüksek Lisans Tezi.
- Poon, M. M.-H. (2022). Formal Functions in Robert Schumann’s Orchestral Sonata Forms, Doktora Tezi.
- Ratner, L. G. (1956). Eighteenth-Century Theories of Musical Period Structure. The Musical Quarterly, 42(4), 439–454.
- Richards, M. (2011). Viennese Classicism and the Sentential Idea: Broadening the Sentence Paradigm. Theory and Practice, 179-224.
- Schoenberg, A. (1975). Fundamentals of Musical Composition. Faber &
- Walton, C. W. (2005). Basic forms in music. Alfred Music.
Abstract
ABSTRACT
Recent classification studies on sentence and periodic structures commonly found in Classical Western music generally focus on the different types of these structures within themselves. Some of these studies seek to answer questions such as under what conditions a formal structure can be defined as a sentence, or in other words, how many ideas constitute a sentence, and whether the presence of a cadence at the end is a necessity. As a result, new sentence types have been proposed. Although periodic structures tend to have fewer exceptions compared to sentence structures, there are still some disagreements regarding their harmonic goals. In this study, sentential and periodic structures are categorized separately based on their lengths. By proposing a name for each prototype length, a method of determining formal expansion is suggested, which is applicable to both periodic and sentential structures. Four classes for both sentential and periodic structures were introduced and the paradigm of formal structure analysis was extended by theorizing the determination of which of these classes the analyzed structures belong to. By analyzing the instrumental works of Bach, Haydn, Mozart and Beethoven in the Common Practice Period, the works in which the eight prototypes can be seen most easily were exemplified.
References
- BaileyShea, M. (2004). Beyond the Beethoven model: Sentence types and limits. Current Musicology, 77(1), 5–33.
- Baileyshea, M. (2019). The Poetic Pre-History of Sentence Form. Music Theory Spectrum, 41(1), 126–145.
- Braunschweig, K. (2015). Expanding the Sentence: Intersections of Theory, History, and Aesthetics. Music Theory and Analysis (MTA), 2(2), 156-193.
- Caplin, W. E. (1998). Classical form: A theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven. Oxford University Press.
- Eason, A. C. (2019). Formal Functions in the Music of Arnold Schoenberg Doktora Tezi, University of Oregon.
- Forrest, D., & Santa, M. (2014). A Taxonomy of Sentence Structures. College Music Symposium, 54.
- Moortele, S. V. (2011). Sentences, Sentence Chains, and Sentence Replication: Intra-and Interthematic Formal Functions in Liszt’s Weimar Symphonic Poems. Intégral, 121-158.
- Pisters, R. K. P. (2012). Grouping structure and gesture: A sentence classification. Yüksek Lisans Tezi.
- Poon, M. M.-H. (2022). Formal Functions in Robert Schumann’s Orchestral Sonata Forms, Doktora Tezi.
- Ratner, L. G. (1956). Eighteenth-Century Theories of Musical Period Structure. The Musical Quarterly, 42(4), 439–454.
- Richards, M. (2011). Viennese Classicism and the Sentential Idea: Broadening the Sentence Paradigm. Theory and Practice, 179-224.
- Schoenberg, A. (1975). Fundamentals of Musical Composition. Faber &
- Walton, C. W. (2005). Basic forms in music. Alfred Music.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Theories of Music |
| Journal Section | Research Articles |
| Authors | |
| Early Pub Date | June 9, 2025 |
| Publication Date | |
| Submission Date | April 24, 2025 |
| Acceptance Date | June 3, 2025 |
| Published in Issue | Year 2025 Volume: 8 Issue: 2 |