Books by Oğuz Usman
Kitap eğitimde kullanılmak amacıyla ücretsiz olarak erişime açılmış olup, içeriğinin hiçbir şekil... more Kitap eğitimde kullanılmak amacıyla ücretsiz olarak erişime açılmış olup, içeriğinin hiçbir şekilde değiştirilmemesi, hangi türden olursa olsun herhangi bir maddi çıkar elde edilmemesi ve yazarın isminin görünür kalması şartıyla paylaşılması, çoğaltılması ve her türlü kişisel ya da kurumsal eğitim faaliyetinde kullanılması serbesttir.
Kitap eğitimde kullanılmak amacıyla ücretsiz olarak erişime açılmış olup, içeriğinin hiçbir şekil... more Kitap eğitimde kullanılmak amacıyla ücretsiz olarak erişime açılmış olup, içeriğinin hiçbir şekilde değiştirilmemesi, hangi türden olursa olsun herhangi bir maddi çıkar elde edilmemesi ve yazarın isminin görünür kalması şartıyla paylaşılması, çoğaltılması ve her türlü kişisel ya da kurumsal eğitim faaliyetinde kullanılması serbesttir.
Kitap eğitimde kullanılmak amacıyla ücretsiz olarak erişime açılmış olup, içeriğinin hiçbir şekil... more Kitap eğitimde kullanılmak amacıyla ücretsiz olarak erişime açılmış olup, içeriğinin hiçbir şekilde değiştirilmemesi, hangi türden olursa olsun herhangi bir maddi çıkar elde edilmemesi ve yazarın isminin görünür kalması şartıyla paylaşılması, çoğaltılması ve her türlü kişisel ya da kurumsal eğitim faaliyetinde kullanılması serbesttir.
Exercises by Oğuz Usman
ENGLISH:
The aim of the exercises presented in this study is to train ii–V–I chord progression, w... more ENGLISH:
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.
In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study.
Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
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DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.
In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.
Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.
Book Chapters by Oğuz Usman
Anklaenge 2018 - The Teaching of Twentieth- and Twenty-First-Century Music History at Universities and Conservatories of Music, 2019
Anklaenge 2018
Die Musikgeschichte des 20. und 21. Jahrhunderts im universitären Unterricht – ... more Anklaenge 2018
Die Musikgeschichte des 20. und 21. Jahrhunderts im universitären Unterricht – The Teaching of Twentieth- and Twenty-First-Century Music History at Universities and Conservatories of Music
Abstract (German)
In diesem Band wird die Verankerung der Musikgeschichte des 20. und 21. Jahrhunderts in der Hochschuldidaktik umfassend dargestellt. Neben einer Analyse von Vorlesungsverzeichnissen deutschsprachiger Musikhochschulen und Universitäten präsentieren 21 internationale Beiträge die Situation in verschiedenen Ländern weltweit. Der Rezensionsteil fokussiert die Darstellung der Musikgeschichte der letzten 120 Jahre in gängigen allgemeinen Musikgeschichtsbüchern, die seit dem Jahr 2000 erschienen sind und als potentielle Literaturempfehlungen für Studierende in Frage kommen: Welche Geschichtsbilder werden vermittelt, welche Selektionen getroffen, welche Schwerpunkte sind gesetzt und was wird ausgespart? Mit Beiträgen von José L. Besada & Belén Pérez Castillo | David Blake | Megan Burslem & Cat Hope | María Paula Cannova | Carmen Chelaru, Florinela Popa & Elena Maria Șorban | Pablo Cuevas | Anna Dalos | Hong Ding | Michael Fjeldsøe | Juri Giannini | Thomas Glaser | Þorbjörg Daphne Hall | Julia Heimerdinger | Frank Hentschel | Andreas Holzer | Priscille Lachat-Sarette | Heekyung Lee | Iwona Lindstedt | Wolfgang Marx | Philippe Poisson | Ingrid Pustijanac | Matej Santi | Mike Searby | Assaf Shelleg | Danae Stefanou | Mareli Stolp | Oğuz Usman & Ozan Baysal | Elizaveta E. Willert
Papers by Oğuz Usman
International Music and Sciences Symposium Proceedings, 2019
Although the appearance of the musical events in Gustav Mahler’s music could be quite complex, th... more Although the appearance of the musical events in Gustav Mahler’s music could be quite complex, there is mostly a very simple harmonic structure that lies in the background of a highly elaborated texture. Considering the harmonic aspect of his music, the artistic craftmanship of Mahler is not only to create unusual chord progressions, but also—even much more—to use conventional chord progressions in a texture that blurs or even hide the simple basic structure in the background. Thus, a simple I–vii°6–I progression might have been made unrecognizable through the unconventional and simultaneous use of suspensions, pedal points, and passing tones. Likewise, it might be very difficult to identify a harmonic sequence that consists of a mere restatement of two basic functions because of the altered surface. Moreover, the replacement of one function in a chord chain with an unexpected one might have drastic aural results.
When performing a harmonic analysis of Mahler’s music, it is mostly about making a decision which of the pitches that participated in the sound event are essential members of the structure and which are merely instances of the inspired and elaborated use of the nonessential elements. However, there are also cases in which the real chordal functionality of a passage could only be proved by considering conventional conditions for a proper harmonic progression and labeling the nonessential elements accordingly, even though no part of this conventional progression is to be heard for a split second.
In the presentation, this situation will be demonstrated through a number of highly interesting passages mainly taken from the songs by Mahler. It will be seen that the labeling the chords by only considering their resulting sounds does not provide any convincing analysis, while gradually filtering the sound events with the aim of achieving a conventional chord progression gives a comprehensive overview of the harmonic structure.
This article discusses Witold Lutoslawski's 'Sacher Variation' of 1975, one of the in honour of P... more This article discusses Witold Lutoslawski's 'Sacher Variation' of 1975, one of the in honour of Paul Sacher's 70th birthday composed works called '12 Hommages à Paul Sacher', from the point of compositional technique and explains the principles used in the pitch organization and formal construction. It is intended the analysis also to provide a basis for the further comparative analyses of the works from '12 Hommages à Paul Sacher', which will make it possible to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70's through exposing the similarities and differences in the handling of the musical material by technical and aesthetic aspects. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization. The work is also interesting that it clearly reveals some important characteristic features of Lutoslawski's music.
With the call of the famous cellist Mstislav Rostropovich, twelve composers composed works to cel... more With the call of the famous cellist Mstislav Rostropovich, twelve composers composed works to celebrate the 70th birthday of the Swiss conductor, patron, and impresario Paul Sacher in 1976. These works were based on Sacher's last name; in other words, they were composed according to the letters in his name, which correspond to the note names in European languages forming a row of six notes. One of these twelve works, which are often referred to as '12 Hommages à Paul Sacher', is Heinz Holliger's 'Chaconne'. The following article presents a detailed analysis of the work's second section, focusing on the pitch organization principles. Our analysis will also demonstrate how this section relates to the other five sections of Holliger's work. It will be understood that Holliger attains a rich musical variety and organic unity through a number of limited and simple resources.
Bu makale, Paul Sacher’in 70. doğum günü onuruna bestelenen ‘12 Hommages à Paul Sacher’ eserlerin... more Bu makale, Paul Sacher’in 70. doğum günü onuruna bestelenen ‘12 Hommages à Paul Sacher’ eserlerinden biri olan, Witold Lutoslawski’nin 1975 yılında bestelediği ‘Sacher Varyasyonu’ adlı eserini kompozisyon tekniği açısından ele alarak, eserin perdesel organizasyonu ve biçimsel kurgusunda kullanılan ilkeleri açıklamaktadır. Analizin ‘12 Hommages à Paul Sacher’ eserleri ile yapılacak karşılaştırmalı analizlere de zemin hazırlaması amaçlanmaktadır. Böylelikle on iki bestecinin müzikal malzemeyi ele alışlarındaki teknik ve estetik farklılıklarla birlikte benzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyon anlayışlarına, hem de 70’lerin ikinci yarısında Avrupa’daki müzikal beklenti ve arayışlara ışık tutulması mümkün olacaktır. Görülecektir ki, eserinde dizisel tekniklere yer vermeyerek perde malzemesini son derece sınırlı tutan Lutoslawski, kurduğu mekanik sistem ile biçimsel gelişimi sağlamakta, organizasyon ile birlikte serbestliği de biçimsel bir öğe olarak kullanmaktadır. Eser, ayrıca Lutoslawski’nin müziğinin bazı önemli karakteristik özelliklerini açık bir şekilde gözler önüne sermesi bakımından da ilgi çekicidir.
This article discusses Witold Lutoslawski’s ‘Sacher Variation’ of 1975, one of ‘12 Hommages à Paul Sacher’ composed in honor of Paul Sacher’s 70th birthday, from the point of the composition technique and explains the principles used in the pitch organization and the formal construction. It is intended the analysis also to provide a basis for the further comparative analyses of the works of ‘12 Hommages à Paul Sacher’, which will make it possible to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70’s through exposing the similarities and differences in the handling of the musical material by technical and aesthetic aspects. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization. The work is also interesting in that it clearly reveals some important characteristic features of Lutoslawski’s music.
1976 yılında on iki besteci, ünlü çellist Mstislav Rostropoviç'in çağrısıyla İsviçreli orkestra ş... more 1976 yılında on iki besteci, ünlü çellist Mstislav Rostropoviç'in çağrısıyla İsviçreli orkestra şefi, maddi destekçi ve emprezaryo Paul Sacher'in 70. doğum günü onuruna eserler bestelerler. Bu eserler Sacher'in soyadı üzerine, yani bu ismi oluşturan harflerin Avrupa dillerinde karşılık geldiği nota isimlerinin oluşturduğu altı perdelik dizi üzerine bestelenmişlerdir. Daha sonra 12 Hommages à Paul Sacher olarak anılan bu eserlerden biri de Henri Dutilleux'nin Trois Strophes sur le nom de Sacher isimli eseridir.
Bu makalede söz konusu eserin birinci bölümü analiz edilmiş, bu yolla Dutilleux'nin kompozisyonda ortaya koyduğu teknik ve estetik yaklaşımlar incelenmiştir. Analiz ayrıca projede yer alan diğer eserlerle yapılacak karşılaştırmalı analizlere de zemin oluşturacaktır. Böylelikle on iki bestecinin müzikal malzemeyi ele alışındaki teknik ve estetik farklılıklarla beraber benzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyon anlayışlarına, hem de 70'lerin ikinci yarısında Avrupa'daki müzikal beklenti ve arayışlara ışık tutulması mümkün olacaktır. Görülecektir ki, dizisel tekniklere de yer veren Dutilleux'nin eserdeki genel tutumu daha çok serbest atonalite içinde kalmaktadır.
In 1976, with the call of the famous cellist Mstislav Rostropovich, twelve composers had composed works in honor of Swiss conductor, patron and impresario Paul Sacher's 70 th birthday. These works had been based on Sacher's last name, in other words, they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. Among these twelve works, which are then called 12 Hommages à Paul Sacher, is Henri Dutilleux's Trois Strophes sur le nom de Sacher.
In this article, the 1 st movement of the work has been analyzed, and thus the technical and aesthetical approaches which Dutilleux demonstrates in the composition have been studied. It is intended the analysis also to provide a basis for the further comparative analyses with the other works of the project. This will enable to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70's through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. It will be understood that Dutilleux gives place to the serial techniques, although his overall approach in this composition remains within the free atonality.
In 1976, with the call of the famous cellist Rostropovich, twelve composers had composed works in... more In 1976, with the call of the famous cellist Rostropovich, twelve composers had composed works in honor of Swiss conductor, patron and impresario Paul Sacher’s 70th birthday. These works had been based on Sacher's last name, in other words they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. Among these twelve works, which are then called 12 Hommages à Paul Sacher, is Heinz Holliger’s Chaconne.
The following article presents a detailed analysis of the 2nd section of this work, focusing mainly on the pitch organization principles. Our analysis will also demonstrate how this section relates with the other five sections of Holliger’s work. It will be understood that, Holliger attains a rich musical variety and organic unity through a number of limited and simple resources.
Charles Ives, kendisi dışındaki bestecilere ve anonim kaynaklara ait müziği kendi eserlerinde far... more Charles Ives, kendisi dışındaki bestecilere ve anonim kaynaklara ait müziği kendi eserlerinde farklı şekillerde kullanarak, bunları kompozisyon sürecinin ayrılmaz bir parçası haline getirmiştir. Hayatı boyunca sadık kaldığı bu besteleme sürecinde kullandığı yöntemleri sürekli olarak geliştirerek, var olan müziğin, bir başka deyişle "ödünç alınmış" öğelerin yeni eserler yaratılması amacıyla kullanılmasında bir doruk noktası haline gelmiştir.
Akustik olarak sunulan tınının, eski müzikteki göreli olarak ast 2 konumdaki işlevinden sıyrılara... more Akustik olarak sunulan tınının, eski müzikteki göreli olarak ast 2 konumdaki işlevinden sıyrılarak özgürleşmesi yüzyılımızdaki müzikal gelişimin kazanımıdır. Eski, tonal bağlamlı, konsonans ve disonans 3 tını algısı yerine bugün, dolaysız bir şekilde ampirik 4 -akustik tını deneyimi, müzikal algının eksenine olmasa da kilit noktasına yerleşmiştir.
Boulez'in 1960 yılında Darmstadt'ta verdiği bir kursun metni olan ve ilk olarak Orientations isim... more Boulez'in 1960 yılında Darmstadt'ta verdiği bir kursun metni olan ve ilk olarak Orientations isimli kitapta yayınlanan 1 'Form' başlıklı makale üzerine inceleme. ! Oğuz Usman ! _________________ ! ! Boulez, makalesine Claude Lévi-Strauss 'tan yaptığı şu alıntıyla başlar: 2 ! Biçim ve içerik özsel olarak aynıdır ve aynı analize cevap verebilirler. İçerik, gerçekliğini yapısı yoluyla sağlar, ve form olarak adlandırılan şey ise lokal yapıların -ki bu içeriktir-"yapılandırılmasıdır". 3 ! Burada form kavramının iki ayrı katmanda ele alındığını görüyoruz; içerik olarak tanımlanan lokal yapılar ve bunların yapılandırılması anlamına gelen ve terminolojide kısaca form şeklinde ifade edilen eserin bütünsel biçimi. Sadece böylesi önemli bir konuya giriş için seçtiği bu alıntıdan yola çıkarak bile, Boulez için içerikten bağımsız olarak sözü edilebilecek bir form anlayışının kesinlikle mümkün olmadığı sonucuna varabiliriz. Bu nedenle makalede form, büyük ölçüde lokal yapılar bağlamında ele alınır. ! Bunların dışında, önemli ölçüde formun tarihsel gelişimine de değinilerek kavramın bugün ve geçmişte oynadığı rol ve bestecinin bu ilişkiler içinde karşı karşıya olduğu problemlerin 4 farklılığı da eleştirel ve çözümsel bir biçimde incelenir. ! $ 1 $ Pierre Boulez, Orientations: Collected Writings, Harvard University Press, s. 90 1 $ Claude Lévi-Strauss, (doğum 28 Kasım 1908, Brüksel, Belçika; ölüm 30 Ekim 2009, Paris, Fransa), Fransız 2 sosyal antropolog ve yapısalcılığın başlıca temsilcisi. (Britannica) $ a.g.m. p. 1 3 $ Makalede 'bugün' ve 'geçmiş' sözcükleri ile kastedilen belirli bir zamandan çok modern ve geleneksel müzik 4 arasındaki ayrımdır. ! Buna verilen bir diğer yanıt ise, bu şemaların -müzikal dağarcığın ve morfolojinin gelişimi sayesinde-adım adım gerçek bir anlam taşımaktan uzaklaşmaları ve regülatör olarak işlevlerinin regüle etmeleri gereken materyal ile çelişir duruma gelmeleridir. Bir noktada "her eserin kendi özel formunu yaratması gerekiyordu; esasen ve değiştirilemez bir biçimde 'içeriğine' bağlı bir form." Ve bu form yalnızca a posteriori olarak algılanabilir olacaktır;
1 Technique' bölümünde, 38. ve 41. sayfalar arasında yer alan beş örneğin metnin de yardımı ile y... more 1 Technique' bölümünde, 38. ve 41. sayfalar arasında yer alan beş örneğin metnin de yardımı ile yapılan yapısal analizi. 2 ! Oğuz Usman ! ! Boulez'in kullandığı kavramlara genel bakış ! Boulez, morfoloji genel başlığını 'üretim' ve 'dağılım' olmak üzere iki altbaşlığa ayırır. Üretim, ses 3 objesinin (bileşen, yapı veya dizi) oluşturulma yöntemleri ile ilgilenir. Dağılım ise bu objelerin bir alan içerisine yerleştirilme yöntemlerini ele alır. # Boulez'in yukarıda belirtilen metninin yanında aşağıdaki iki çalışma da yardımcı kaynak olarak kullanılmıştır: 2 David Walters, The Aesthetics of Pierre Boulez, PhD Thesis, Department of Music, University of Durham 2003 Peter M. S. Tannenbaum, Boulez's Structuralist Aesthetics of Music, MA Thesis, McMaster University 1988 # İng. morphology; biçimbilim 3 # Bkz. David Walters'ın yukarıda belirtilen çalışmasının 'The field: Generation-distribution, value-density' başlıklı 4 bölümü. # Perde, süre, gürlük ve tını. 5
Dissertations by Oğuz Usman
1976 yılında on iki besteci, ünlü çellist Rostropovich’in çağrısıyla İsviçreli orkestra şefi, müz... more 1976 yılında on iki besteci, ünlü çellist Rostropovich’in çağrısıyla İsviçreli orkestra şefi, müzik koruyucusu ve emprezaryo Paul Sacher’in 70. doğum gününün onuruna eserler bestelerler. Bu eserler Sacher’in ismi üzerine, yani bu ismi oluşturan harflerin Avrupa dillerinde karşılık geldiği nota isimlerinin oluşturduğu altı perdelik dizi üzerine bestelenmişlerdir. Sözü edilen eserlerden Holliger, Lutoslawski, Boulez, Dutilleux ve Berio tarafından bestelenen beş tanesinin analizini içeren bu çalışmada, müzikal malzemenin ele alınışındaki teknik ve estetik farklılıklarla beraber benzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyon anlayışlarına, hem de 70’lerin ikinci yarısında Avrupa’daki müzikal beklenti ve arayışlara ışık tutulması amaçlanmaktadır. Eserler öncelikle teker teker ele alınmış, daha sonra elde edilen veriler ışığında karşılaştırılarak bestecilerin temsil ettikleri müzikal konumlar netleştirilmeye çalışılmıştır.
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In 1976, with the call of the famous cellist Rostropovich, twelve composers had composed works in the honor of Swiss conductor, patron and impresario Paul Sacher’s 70th birthday. These works had been based on Sacher's name, in other words they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. The aim of this study, that consists of the analysis of five of the above mentioned works which had been composed by Holliger, Lutoslawski, Boulez, Dutilleux and Berio, is to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70’s through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. Primarily the works has been dealt one by one and then with the help of the gathered data the musical positionings of the composers are tried to be clarified.
Der Begriff „Mikrotonalität“ wird heutzutage eher für die Markierung eines Bereichs in der Musik ... more Der Begriff „Mikrotonalität“ wird heutzutage eher für die Markierung eines Bereichs in der Musik des zwanzigsten Jahrhunderts verwendet. Ein Bereich also, der sich von den anderen aus musikphilosophischen, musiktheoretischen und musikästhetischen Aspekten unterscheidet. Im Laufe meiner Forschung über dieses Thema ist es für mich insofern immer schwieriger geworden, die Grenzen dieses Bereichs sowohl praktisch als auch historisch genauer zu bestimmen, als man in jedem Werk aus jeder beliebigen Epoche die Zeichen der Mikrotonalität finden kann.
Trotz aller Definitionsschwierigkeiten habe ich mich darum bemüht, Mikrotonalität in zwei Kapiteln zu beobachten. Das erste Kapitel (Mikrotonalität als Nebenelement von Komposition) zielt darauf, die Gründe und die Wirkungen des Einsetzens mikrotonaler Elemente in ein nicht mikrotonal beschreibbares Stück beziehend auf handwerkliche und akustische Aspekte mit Notenbeispielen ausgewählter Stücke zu untersuchen. Das zweite Kapitel (Mikrotonalität als integraler Bestandteil von Komposition) übernimmt die Aufgabe, einen Einblick in die historische und technische Entwicklung der Mikrotonalität in verschiedenen Richtungen und Ansatzpunkten zu gewähren und dies in einer Auseinandersetzung mit den Aussagen bedeutender Persönlichkeiten zu diskutieren.
Teaching Materials by Oğuz Usman
Kromatik öğelerin tonal armonide kullanımını inceleyen notlarımın işlevsel ve işlevsel olmayan kr... more Kromatik öğelerin tonal armonide kullanımını inceleyen notlarımın işlevsel ve işlevsel olmayan kromatizmin açıklanmasından başlayarak ikincil fonksiyonlar, mod karışımı, Napoliten akoru ile birlikte bunların kullanıldığı modülasyon yöntemlerini ele alan ilk bölümü.
İtalyan, Fransız ve Alman artmış altılı akorları ile anarmonik modülasyon kunuları ele alınmıştır.
Bilgisayar destekli müzikal kompozisyona giriş dersleri.
OpenMusic, IRCAM’da geliştirilmiş bir... more Bilgisayar destekli müzikal kompozisyona giriş dersleri.
OpenMusic, IRCAM’da geliştirilmiş bir bilgisayar destekli müzikal kompozisyon programıdır. Kapasitesi oldukça geniş olan bu program, Brian Ferneyhough, Tristan Murail, Gérard Grisey, Magnus Lindberg ve Kaija Saariaho gibi isimlerin de aralarında bulunduğu birçok besteci tarafından yapısal oluşumlardan aleatorik operasyonlara, spektral hesaplamalardan ses sentezlemeye kadar birçok amaç için kullanılmış ve halen kullanılmaktadır.
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Exercises by Oğuz Usman
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.
In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study.
Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
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DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.
In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.
Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.
Book Chapters by Oğuz Usman
Die Musikgeschichte des 20. und 21. Jahrhunderts im universitären Unterricht – The Teaching of Twentieth- and Twenty-First-Century Music History at Universities and Conservatories of Music
Abstract (German)
In diesem Band wird die Verankerung der Musikgeschichte des 20. und 21. Jahrhunderts in der Hochschuldidaktik umfassend dargestellt. Neben einer Analyse von Vorlesungsverzeichnissen deutschsprachiger Musikhochschulen und Universitäten präsentieren 21 internationale Beiträge die Situation in verschiedenen Ländern weltweit. Der Rezensionsteil fokussiert die Darstellung der Musikgeschichte der letzten 120 Jahre in gängigen allgemeinen Musikgeschichtsbüchern, die seit dem Jahr 2000 erschienen sind und als potentielle Literaturempfehlungen für Studierende in Frage kommen: Welche Geschichtsbilder werden vermittelt, welche Selektionen getroffen, welche Schwerpunkte sind gesetzt und was wird ausgespart? Mit Beiträgen von José L. Besada & Belén Pérez Castillo | David Blake | Megan Burslem & Cat Hope | María Paula Cannova | Carmen Chelaru, Florinela Popa & Elena Maria Șorban | Pablo Cuevas | Anna Dalos | Hong Ding | Michael Fjeldsøe | Juri Giannini | Thomas Glaser | Þorbjörg Daphne Hall | Julia Heimerdinger | Frank Hentschel | Andreas Holzer | Priscille Lachat-Sarette | Heekyung Lee | Iwona Lindstedt | Wolfgang Marx | Philippe Poisson | Ingrid Pustijanac | Matej Santi | Mike Searby | Assaf Shelleg | Danae Stefanou | Mareli Stolp | Oğuz Usman & Ozan Baysal | Elizaveta E. Willert
Papers by Oğuz Usman
When performing a harmonic analysis of Mahler’s music, it is mostly about making a decision which of the pitches that participated in the sound event are essential members of the structure and which are merely instances of the inspired and elaborated use of the nonessential elements. However, there are also cases in which the real chordal functionality of a passage could only be proved by considering conventional conditions for a proper harmonic progression and labeling the nonessential elements accordingly, even though no part of this conventional progression is to be heard for a split second.
In the presentation, this situation will be demonstrated through a number of highly interesting passages mainly taken from the songs by Mahler. It will be seen that the labeling the chords by only considering their resulting sounds does not provide any convincing analysis, while gradually filtering the sound events with the aim of achieving a conventional chord progression gives a comprehensive overview of the harmonic structure.
This article discusses Witold Lutoslawski’s ‘Sacher Variation’ of 1975, one of ‘12 Hommages à Paul Sacher’ composed in honor of Paul Sacher’s 70th birthday, from the point of the composition technique and explains the principles used in the pitch organization and the formal construction. It is intended the analysis also to provide a basis for the further comparative analyses of the works of ‘12 Hommages à Paul Sacher’, which will make it possible to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70’s through exposing the similarities and differences in the handling of the musical material by technical and aesthetic aspects. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization. The work is also interesting in that it clearly reveals some important characteristic features of Lutoslawski’s music.
Bu makalede söz konusu eserin birinci bölümü analiz edilmiş, bu yolla Dutilleux'nin kompozisyonda ortaya koyduğu teknik ve estetik yaklaşımlar incelenmiştir. Analiz ayrıca projede yer alan diğer eserlerle yapılacak karşılaştırmalı analizlere de zemin oluşturacaktır. Böylelikle on iki bestecinin müzikal malzemeyi ele alışındaki teknik ve estetik farklılıklarla beraber benzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyon anlayışlarına, hem de 70'lerin ikinci yarısında Avrupa'daki müzikal beklenti ve arayışlara ışık tutulması mümkün olacaktır. Görülecektir ki, dizisel tekniklere de yer veren Dutilleux'nin eserdeki genel tutumu daha çok serbest atonalite içinde kalmaktadır.
In 1976, with the call of the famous cellist Mstislav Rostropovich, twelve composers had composed works in honor of Swiss conductor, patron and impresario Paul Sacher's 70 th birthday. These works had been based on Sacher's last name, in other words, they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. Among these twelve works, which are then called 12 Hommages à Paul Sacher, is Henri Dutilleux's Trois Strophes sur le nom de Sacher.
In this article, the 1 st movement of the work has been analyzed, and thus the technical and aesthetical approaches which Dutilleux demonstrates in the composition have been studied. It is intended the analysis also to provide a basis for the further comparative analyses with the other works of the project. This will enable to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70's through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. It will be understood that Dutilleux gives place to the serial techniques, although his overall approach in this composition remains within the free atonality.
The following article presents a detailed analysis of the 2nd section of this work, focusing mainly on the pitch organization principles. Our analysis will also demonstrate how this section relates with the other five sections of Holliger’s work. It will be understood that, Holliger attains a rich musical variety and organic unity through a number of limited and simple resources.
Dissertations by Oğuz Usman
//
In 1976, with the call of the famous cellist Rostropovich, twelve composers had composed works in the honor of Swiss conductor, patron and impresario Paul Sacher’s 70th birthday. These works had been based on Sacher's name, in other words they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. The aim of this study, that consists of the analysis of five of the above mentioned works which had been composed by Holliger, Lutoslawski, Boulez, Dutilleux and Berio, is to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70’s through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. Primarily the works has been dealt one by one and then with the help of the gathered data the musical positionings of the composers are tried to be clarified.
Trotz aller Definitionsschwierigkeiten habe ich mich darum bemüht, Mikrotonalität in zwei Kapiteln zu beobachten. Das erste Kapitel (Mikrotonalität als Nebenelement von Komposition) zielt darauf, die Gründe und die Wirkungen des Einsetzens mikrotonaler Elemente in ein nicht mikrotonal beschreibbares Stück beziehend auf handwerkliche und akustische Aspekte mit Notenbeispielen ausgewählter Stücke zu untersuchen. Das zweite Kapitel (Mikrotonalität als integraler Bestandteil von Komposition) übernimmt die Aufgabe, einen Einblick in die historische und technische Entwicklung der Mikrotonalität in verschiedenen Richtungen und Ansatzpunkten zu gewähren und dies in einer Auseinandersetzung mit den Aussagen bedeutender Persönlichkeiten zu diskutieren.
Teaching Materials by Oğuz Usman
OpenMusic, IRCAM’da geliştirilmiş bir bilgisayar destekli müzikal kompozisyon programıdır. Kapasitesi oldukça geniş olan bu program, Brian Ferneyhough, Tristan Murail, Gérard Grisey, Magnus Lindberg ve Kaija Saariaho gibi isimlerin de aralarında bulunduğu birçok besteci tarafından yapısal oluşumlardan aleatorik operasyonlara, spektral hesaplamalardan ses sentezlemeye kadar birçok amaç için kullanılmış ve halen kullanılmaktadır.
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.
In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study.
Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
---------------------
DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.
In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.
Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.
Die Musikgeschichte des 20. und 21. Jahrhunderts im universitären Unterricht – The Teaching of Twentieth- and Twenty-First-Century Music History at Universities and Conservatories of Music
Abstract (German)
In diesem Band wird die Verankerung der Musikgeschichte des 20. und 21. Jahrhunderts in der Hochschuldidaktik umfassend dargestellt. Neben einer Analyse von Vorlesungsverzeichnissen deutschsprachiger Musikhochschulen und Universitäten präsentieren 21 internationale Beiträge die Situation in verschiedenen Ländern weltweit. Der Rezensionsteil fokussiert die Darstellung der Musikgeschichte der letzten 120 Jahre in gängigen allgemeinen Musikgeschichtsbüchern, die seit dem Jahr 2000 erschienen sind und als potentielle Literaturempfehlungen für Studierende in Frage kommen: Welche Geschichtsbilder werden vermittelt, welche Selektionen getroffen, welche Schwerpunkte sind gesetzt und was wird ausgespart? Mit Beiträgen von José L. Besada & Belén Pérez Castillo | David Blake | Megan Burslem & Cat Hope | María Paula Cannova | Carmen Chelaru, Florinela Popa & Elena Maria Șorban | Pablo Cuevas | Anna Dalos | Hong Ding | Michael Fjeldsøe | Juri Giannini | Thomas Glaser | Þorbjörg Daphne Hall | Julia Heimerdinger | Frank Hentschel | Andreas Holzer | Priscille Lachat-Sarette | Heekyung Lee | Iwona Lindstedt | Wolfgang Marx | Philippe Poisson | Ingrid Pustijanac | Matej Santi | Mike Searby | Assaf Shelleg | Danae Stefanou | Mareli Stolp | Oğuz Usman & Ozan Baysal | Elizaveta E. Willert
When performing a harmonic analysis of Mahler’s music, it is mostly about making a decision which of the pitches that participated in the sound event are essential members of the structure and which are merely instances of the inspired and elaborated use of the nonessential elements. However, there are also cases in which the real chordal functionality of a passage could only be proved by considering conventional conditions for a proper harmonic progression and labeling the nonessential elements accordingly, even though no part of this conventional progression is to be heard for a split second.
In the presentation, this situation will be demonstrated through a number of highly interesting passages mainly taken from the songs by Mahler. It will be seen that the labeling the chords by only considering their resulting sounds does not provide any convincing analysis, while gradually filtering the sound events with the aim of achieving a conventional chord progression gives a comprehensive overview of the harmonic structure.
This article discusses Witold Lutoslawski’s ‘Sacher Variation’ of 1975, one of ‘12 Hommages à Paul Sacher’ composed in honor of Paul Sacher’s 70th birthday, from the point of the composition technique and explains the principles used in the pitch organization and the formal construction. It is intended the analysis also to provide a basis for the further comparative analyses of the works of ‘12 Hommages à Paul Sacher’, which will make it possible to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70’s through exposing the similarities and differences in the handling of the musical material by technical and aesthetic aspects. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization. The work is also interesting in that it clearly reveals some important characteristic features of Lutoslawski’s music.
Bu makalede söz konusu eserin birinci bölümü analiz edilmiş, bu yolla Dutilleux'nin kompozisyonda ortaya koyduğu teknik ve estetik yaklaşımlar incelenmiştir. Analiz ayrıca projede yer alan diğer eserlerle yapılacak karşılaştırmalı analizlere de zemin oluşturacaktır. Böylelikle on iki bestecinin müzikal malzemeyi ele alışındaki teknik ve estetik farklılıklarla beraber benzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyon anlayışlarına, hem de 70'lerin ikinci yarısında Avrupa'daki müzikal beklenti ve arayışlara ışık tutulması mümkün olacaktır. Görülecektir ki, dizisel tekniklere de yer veren Dutilleux'nin eserdeki genel tutumu daha çok serbest atonalite içinde kalmaktadır.
In 1976, with the call of the famous cellist Mstislav Rostropovich, twelve composers had composed works in honor of Swiss conductor, patron and impresario Paul Sacher's 70 th birthday. These works had been based on Sacher's last name, in other words, they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. Among these twelve works, which are then called 12 Hommages à Paul Sacher, is Henri Dutilleux's Trois Strophes sur le nom de Sacher.
In this article, the 1 st movement of the work has been analyzed, and thus the technical and aesthetical approaches which Dutilleux demonstrates in the composition have been studied. It is intended the analysis also to provide a basis for the further comparative analyses with the other works of the project. This will enable to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70's through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. It will be understood that Dutilleux gives place to the serial techniques, although his overall approach in this composition remains within the free atonality.
The following article presents a detailed analysis of the 2nd section of this work, focusing mainly on the pitch organization principles. Our analysis will also demonstrate how this section relates with the other five sections of Holliger’s work. It will be understood that, Holliger attains a rich musical variety and organic unity through a number of limited and simple resources.
//
In 1976, with the call of the famous cellist Rostropovich, twelve composers had composed works in the honor of Swiss conductor, patron and impresario Paul Sacher’s 70th birthday. These works had been based on Sacher's name, in other words they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. The aim of this study, that consists of the analysis of five of the above mentioned works which had been composed by Holliger, Lutoslawski, Boulez, Dutilleux and Berio, is to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70’s through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. Primarily the works has been dealt one by one and then with the help of the gathered data the musical positionings of the composers are tried to be clarified.
Trotz aller Definitionsschwierigkeiten habe ich mich darum bemüht, Mikrotonalität in zwei Kapiteln zu beobachten. Das erste Kapitel (Mikrotonalität als Nebenelement von Komposition) zielt darauf, die Gründe und die Wirkungen des Einsetzens mikrotonaler Elemente in ein nicht mikrotonal beschreibbares Stück beziehend auf handwerkliche und akustische Aspekte mit Notenbeispielen ausgewählter Stücke zu untersuchen. Das zweite Kapitel (Mikrotonalität als integraler Bestandteil von Komposition) übernimmt die Aufgabe, einen Einblick in die historische und technische Entwicklung der Mikrotonalität in verschiedenen Richtungen und Ansatzpunkten zu gewähren und dies in einer Auseinandersetzung mit den Aussagen bedeutender Persönlichkeiten zu diskutieren.
OpenMusic, IRCAM’da geliştirilmiş bir bilgisayar destekli müzikal kompozisyon programıdır. Kapasitesi oldukça geniş olan bu program, Brian Ferneyhough, Tristan Murail, Gérard Grisey, Magnus Lindberg ve Kaija Saariaho gibi isimlerin de aralarında bulunduğu birçok besteci tarafından yapısal oluşumlardan aleatorik operasyonlara, spektral hesaplamalardan ses sentezlemeye kadar birçok amaç için kullanılmış ve halen kullanılmaktadır.
Buradaki kuralların uygulanması Palestrina'nın yazısına yakın sonuçlar verir; böylece öğrenciyi, daha başlangıçta 16. yüzyılda yaşanmış gerçek müziğe yaklaştırır. Deyiş olarak tam ve arı bir yaklaşım olanaksız, dahası, gereksiz olduğu için Palestrina'nın sıkılığı yerine, bazı ayrınlılarda Orlando di Lasso ve Tomas Luis de Victoria'nın daha özgür yazı özellikleri uygulanmıştır.
Öğrencinin özgürce serpilip gelişen bir ezgi anlayışına varması özellikle amaçlanmıştır. Bu yüzden örneklerimizde ölçü çizgisi kullanılmamıştır. Geleneksel kontrpuan öğretiminde kullanılan "beş tür" yöntemi, özgür bir ezgi anlayışı sağlayacağı yerde ona engel olduğu için bu taslağa alınmadı. Gene de "beş tür" yöntemine yabancı kalınmaması için bu öğretimin ilkeleri EK'te kısaca açıklanmıştır.
Bu sayfalarda öne sürülen yöntem çeşitli öğrenciler üzerinde uzun yıllar denenmiş, geliştirilmiş ve yararı kanıtlanmış bir yöntemdir. Konunun öğrenilmesi için bir yıl yeterlidir.
(Kitabın Önsöz'ünden)