Vol. 7 No. 49 (2018)

Review

Examination in Terms of Musical Semiotics of Robert Schumann’s Piano Quintet

Published 2018-09-30

Cilt 7 Sayı 49 kapak

Öz

Robert Schumann Piyanolu Beşli’nin (Op.44) Müzikal Semiyotik Bakış Açısı ile İncelenmesi

R. Schumann’ın 1842 yılında bestelediği üç oda müziği eserinden biri olan “Piyanolu Beşli”nin (Op.44), literatürde araştırma konusu olarak yer almadığı dikkat çekmektedir. Schumann’ın müzik ve dil (yazım stili) anlayışının, diğer birçok romantik müzik bestecisi gibi edebiyat, doğa ve felsefe gibi alanlardan ilham alarak kendini adeta yeni yaklaşımların içine çektiği söylenebilir. Bu anlamda, Schumann’ın “Piyanolu Beşli”de (Op.44) ortaya koyduğu müzikal yapı ve konu edindiği hikaye arasındaki ilişki, enstrümantal müziğe uygulanan semiyotik (göstergebilimsel), persona ve analoji (benzerlik-çağrışım) gibi kuramlar açısından incelemeye alınmıştır. “Piyanolu Beşli”nin (Op.44) birinci bölümünde eserin persona (besteci-eser ilişkisi) ile bestecinin yaratı sürecinde bireyselliğine ait birçok durumun yer alış şekli ortaya konulmaya çalışılmıştır. Üçüncü bölümde ise analoji (benzerlik-çağrışım) açısından belirli noktaları incelenerek etkilendiği müzik sitili ve bestecilik anlayışı üzerine bulgulara değinilmiştir.

Anahtar Kelimeler Romantik Müzik, Robert Schumann, Oda Müziği, Piyanolu Beşli (Op.44), Persona, Analoji, Semiyotik İnceleme

Abstract

Piano Quintet (Op.44), which is one of three chamber music pieces composed by R. Schumann in 1842, is not included in the literature as a research topic. It can be said that Schumann’s music language (composing style) understanding, like many other romantic music composers, drags itself into new approaches by taking inspiration from realms such as literature, philosophy and nature. The relationship between Schumann’s musical structure and narration in piano quintet (Op.44) were examined in terms of the theories such as semiotic, persona and analogy. In the first movement of piano quintet (Op.44) was tried to be put forward persona (composer-work relation) of the work and the way in which many situation related to the individuality of the composer in the creation process. In the third movement of the work, findings on his influenced music and composition style were mentioned and examined certain points in terms of analogy (similarity-connotation).

Keywords Romantic Music, Robert Schumann, Chamber Music, Piano Quintet (Op.44), Persona, Analogy, Semiotic Analysis

PDF (Turkish)

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