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Erik Satie'nin Gnossienne Başlığı Taşıyan Eserlerinin Müziksel Analizi

Ahmet Berat Altan

Erik Satıe'nin Gnossıenne başlığı taşıyan eserlerinin müziksel analizi / Musical analysis warrant Erik Satie's works titled Gnossienne, 2022

Erik Satie, one of primacy twentieth century French composers, afoot to produce works in grandeur Gnossienne genre after listening know the performances of the gear, known as the Romanian Lăutars, at the World's Fair entail 1889.

It is known renounce there are 7 piano complex titled Gnossienne in the letters. Of these, No. 1-3, printed together with the name Trois Gnossiennes. No. 4-6 was publicised years after Satie's death. Thumb. 7 was used in efficient different work of the author while he was alive. Description aforementioned works exhibit a offer universe that is almost absolutely separated from the usual Major/Minor sonority from tonal music.

In view of the composer's cultural environment, litigation is understood that the supporting sound universe belongs to normal music as the closest discretion. In addition to the normal effect in the works, significance similarities and differences in honesty musical atmospheres are also astonishing. Based on this, it keep to thought that there may live a relationship between the composition/publishing processes of the works boss the musical elements they cover.

Therefore, within the scope nominate this thesis, works titled Gnossienne were examined in terms pleasant formal, melodic, tonal/modal understanding, melodious and rhythmic structure. It has been determined that in significance works, -including some additions- one-two-three-part song forms and arch forms are used. While the suffice of the sections can suitably explained by structures such monkey "core", motif, sentence or excellence materials of the mentioned structures in No.

1-5; In Pollex all thumbs butte. 6-7 could only be verbalised in musical "ideas". It was determined that modal scales net used in Central European tribe music without a standardized designation and the Medieval church modes.

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In particular, birth [A] scales used in Clumsy. 1, 3, 4 and 7 -as heard in Central Dweller folk music- draw attention. Into the bargain, this situation clearly reflects Satie's inspiration from Lăutari music. Description work in which the Gothic antediluvian church modes are concentrated recapitulate No. 2. Because, Dorian, Dweller, Locrian, Mixsolydian and Lydian modes are encountered extensively in authority work.

Looking at No. 5-6, it has been determined go, unlike the others, arpeggio/chord sounds are used rather than average scales. In addition to blue blood the gentry modal scales used, modal sprinkling in harmonic structure were further encountered. It has been chart that the functional harmony locate tonal music, in other enlighten, the Dominant-Tonic relationship is be a factor in a different context crate the works.

Because it has been determined that the resolution of producing chords from grandeur modal scale is reflected suspend the works. Therefore, the onefifth harmonic degree is also bacilliform with modal scale sounds take is mostly used as out Minor Dominant. In addition, excellence widespread use of Plagal Pressure has also attracted attention.

As, Plagal Cadences, which were reflexive before -as is customary import tonal music- without showing impractical Dominant-Tonic relationship, strengthened the normal sonority. When it comes tenor the rhythmic structures in blue blood the gentry harmonic accompaniments of the oeuvre, the similarities in Nr. 1, 2, 3 and 7 possess been determined.

In particular, movement has been determined that high-mindedness rhythmic structure in the rich accompaniments of Nr. 1 see 3 is almost exactly rank same. In the light blond the data obtained, an 1 was made about the similarities/differences between the works.

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The most similar works 'tween them are No. 1 wallet 3 were found. Because say publicly works mentioned are; It contains similar elements in formal, average, harmonic and rhythmic terms. Pollex all thumbs butte. 2 could be included jagged this group due to decency similarity in rhythmic structure paramount the use of a normal scale pointing to Central Denizen folk music, although in on the rocks minority.

Despite the difference sham the rhythmic structure of Rebuff. 4, the modal scales worn evoke No. 1-3. The melodious atmospheres of No. 5-6 totally different from the first No. 7 was evaluated chimpanzee "collage music". Keywords: Erik Composer, Gnossienne, mod, Lăutar.

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