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RODİON SHCHEDRİN’İN NO: 1VE NO: 2 PİYANO SONATLARININ ANALİZ VE YORUMLAMASI

Year 2023, Issue: 95, 201 - 212, 15.09.2023
https://doi.org/10.17753/sosekev.1255422

Abstract

Zamanımızın önemli bestecilerinden olan Rodion Shchedrin’in eser yelpazesi son derece çeşitlidir. Yaratıcılık yolunun başlangıcından itibaren Shchedrin farklı türlerde çalışarak, modern besteci tekniğini aktif olarak geliştirmiş, geleneksel biçimlerin radikal bir şekilde yenilenmesini hedeflemiştir. Bu çalışmada, R. Shchedrin’in No: 1 ve No: 2 piyano sonatlarının müzikal özelliklerini incelemeyi ve analiz etmeyi amaçlamaktadır. Bu amaç doğrultusunda, sonatların müzikal dilini, özgün biçim anlayışını ve polifonik yaklaşımını ele alarak incelenmektedir. Çalışmada doküman analizi, basılı ve elektronik materyaller incelenerek ve değerlendirerek nitel bir araştırma yöntemi kullanılmıştır. Yapılan araştırmanın sonucunda Rodion Shchedrin’in sonatlarında XX. yüzyıl bestecilerine ait olan kromatik 12 tonlu sistem, atlamalı melodik çizgi, ritim ve müzikal formun asimetrik yapısı, polistilistik eğilimler duyulabilir, ayrıca dodekafoni serisi, hemitonik dizisi, ifade parametresi, bağımsız bir parametre olarak uzamsallık, sonorik ile birlikte tersine çevrilebilir müzik formları, aleatorik ve “üstün” polifoni teknikleri kullanarak, tek bir eser içinde heterojen stilleri birleştirmiş olup, kompozisyon bakımından yeni yaklaşımları sergileyen çalışmalarını orijinal, hatta olağanüstü seviyeye getirmektedir.

References

  • Klochkhova, E., & Sinelnikova, O. (Eds.). (2019). Musical culture of Russia and Italy: from XX to XXI century collection of scientific articles based on materials of the International Scientific Conference in Naples. The Alemdar Karamanov Centre for Support of Contemporary Art.
  • Polin, C. (1989). Conversations in Leningrad. Tempo, 1(168), 15-20.
  • Saidkhonov, A. (2022). The polyphonic genre in the work of Rodion Shchedrin. International journal of Novel Research in Advanced Sciences, 1(6), 146-149.
  • Seo, Y. (2003). Three cycles of 24 preludes and fugues by Russian composers: D. Shostakovich, R. Shchedrin and S. Slonimsky [Unpublished doctoral dissertation]. University of Texas at Austin.
  • Shchedrin, R. (1999). Second piano sonata. Schott.
  • Shchedrin, R. (2004). Rodion Shchedrin piano works CD [Recorded by M. V. Heinzelmann]. Musicom. Valle, A. (2008). A stylistic analysis of six pieces for solo piano by Rodion Shchedrin [Unpublished doctoral dissertation]. University of Southern Mississippi.
  • Yıldırım, A., & Şimşek, H. (2021). Sosyal bilimlerde nitel araştırma yöntemleri (12. baskı). Seçkin.
  • Власова, Е. [Vlasova, E.]. (2006). Родион Константинович Щедрин. Жизнь и творчество: альбом фортепианных переложений с комментариями и иллюстрациями . Music Production International.
  • Гулаев, Г. [Gulayev, G.] (Ed.). (2019). XXIX международная научно-практическая конференция. Vol. 2. Наука и просвещение.
  • Синельникова, О. [Sinelnikova, O.]. (2014). Страницы русской истории сквозь призму жизни и творчества Родиона Щедрина. Вестник, 8(26), 134-141.
  • Тараканов, М. [Tarakanov, M.]. (1980). Творчество Родиона Щедрина. Советский композитор.
  • Холопова, В. [Kholopova, V.]. (2000). Путь по центру. Композитор.
  • Цяньцянь, Л. [Tsyantsyan, L.]. (2013). Национально-стилевые особенности фортепианного творчества Родиона Щедрина. Таврические студии искусствоведение, 3(4), 17-22.
  • Щедрин, Р. [Shchedrin, R.]. (1963). Творить для народа во имя коммунизма. Советская музыка, 6(12), 1-12.
  • Щедрин, Р. [Shchedrin, R.]. (1975). Родион Константинович Щедрин. Соната для фортепиано. Советский композитор.
  • Щедрин, Р. [Shchedrin, R.]. (1983). К изучению творчества Щедрина. Советская музыка, 1(1), 8-28.

Analysis and interpretation of Rodıon Shchedrın’s no: 1 and no: 2 piano sonata

Year 2023, Issue: 95, 201 - 212, 15.09.2023
https://doi.org/10.17753/sosekev.1255422

Abstract

The repertoire of Rodion Shchedrin, one of the important composers of our time, is extremely diverse. From the beginning of his creative path, Shchedrin actively developed modern composer techniques by working in different genres and aimed to radically renew traditional forms. This study aims to examine and analyze the musical characteristics of Shchedrin’s Piano Sonatas No. 1 and No. 2. In this context, the musical language, original form understanding, and polyphonic approach of the sonatas are examined. A qualitative research method was used in this study by analyzing and evaluating printed and electronic materials through document analysis. As a result of the research, it can be heard that Shchedrin’s sonatas contain chromatic 12-tone system belonging to 20th century composers, skipping melodic lines, asymmetrical structure of rhythm and musical form, poly-stylistic tendencies, and the use of dodecaphonic series, hemitonic series, expression parameters, spatiality as an independent parameter, reversible music forms with sonority, aleatoric and “superior” polyphony techniques, which combine heterogeneous styles in a single work and exhibit new approaches in composition, bringing his works to an original, even extraordinary level.

References

  • Klochkhova, E., & Sinelnikova, O. (Eds.). (2019). Musical culture of Russia and Italy: from XX to XXI century collection of scientific articles based on materials of the International Scientific Conference in Naples. The Alemdar Karamanov Centre for Support of Contemporary Art.
  • Polin, C. (1989). Conversations in Leningrad. Tempo, 1(168), 15-20.
  • Saidkhonov, A. (2022). The polyphonic genre in the work of Rodion Shchedrin. International journal of Novel Research in Advanced Sciences, 1(6), 146-149.
  • Seo, Y. (2003). Three cycles of 24 preludes and fugues by Russian composers: D. Shostakovich, R. Shchedrin and S. Slonimsky [Unpublished doctoral dissertation]. University of Texas at Austin.
  • Shchedrin, R. (1999). Second piano sonata. Schott.
  • Shchedrin, R. (2004). Rodion Shchedrin piano works CD [Recorded by M. V. Heinzelmann]. Musicom. Valle, A. (2008). A stylistic analysis of six pieces for solo piano by Rodion Shchedrin [Unpublished doctoral dissertation]. University of Southern Mississippi.
  • Yıldırım, A., & Şimşek, H. (2021). Sosyal bilimlerde nitel araştırma yöntemleri (12. baskı). Seçkin.
  • Власова, Е. [Vlasova, E.]. (2006). Родион Константинович Щедрин. Жизнь и творчество: альбом фортепианных переложений с комментариями и иллюстрациями . Music Production International.
  • Гулаев, Г. [Gulayev, G.] (Ed.). (2019). XXIX международная научно-практическая конференция. Vol. 2. Наука и просвещение.
  • Синельникова, О. [Sinelnikova, O.]. (2014). Страницы русской истории сквозь призму жизни и творчества Родиона Щедрина. Вестник, 8(26), 134-141.
  • Тараканов, М. [Tarakanov, M.]. (1980). Творчество Родиона Щедрина. Советский композитор.
  • Холопова, В. [Kholopova, V.]. (2000). Путь по центру. Композитор.
  • Цяньцянь, Л. [Tsyantsyan, L.]. (2013). Национально-стилевые особенности фортепианного творчества Родиона Щедрина. Таврические студии искусствоведение, 3(4), 17-22.
  • Щедрин, Р. [Shchedrin, R.]. (1963). Творить для народа во имя коммунизма. Советская музыка, 6(12), 1-12.
  • Щедрин, Р. [Shchedrin, R.]. (1975). Родион Константинович Щедрин. Соната для фортепиано. Советский композитор.
  • Щедрин, Р. [Shchedrin, R.]. (1983). К изучению творчества Щедрина. Советская музыка, 1(1), 8-28.
There are 16 citations in total.

Details

Primary Language Turkish
Subjects Interpretation in Western Classical Music, Musicology and Ethnomusicology
Journal Section Articles
Authors

Mehriban Mammadalıyeva 0000-0002-5392-9572

Publication Date September 15, 2023
Published in Issue Year 2023 Issue: 95

Cite

APA Mammadalıyeva, M. (2023). RODİON SHCHEDRİN’İN NO: 1VE NO: 2 PİYANO SONATLARININ ANALİZ VE YORUMLAMASI. EKEV Akademi Dergisi(95), 201-212. https://doi.org/10.17753/sosekev.1255422