Analysis of İlhan Usmanbaş’s three musical poems, three paintings by Dali and five etudes for violin and piano in the context of 12-tone Technique and Integral Serialism

Authors : Sedat Yüksek

Pages : 1-21

Doi:10.5281/zenodo.10926240

View : 7 | Download : 5

Publication Date : 2023-12-30

Article Type : Research Paper

Abstract :The 20th century composer İlhan Usmanbaş stands out as a composer who seeks the new in his works and reflects the techniques of the era to his compositions through his own filter. This line of the composer, which started with the 12-tone technique after 1950, continued in the following period with integral serialism, relative notation and randomness. The works composed by Usmanbaş between 1950 and 1960 are seen as the breaking point in his composition. In this context, the aim of this study is to investigate the influences on Usmanbaş's composition after 1960 and to examine how the composer used the contemporary musical writing of the period. In this direction, the study focuses on the period when the composer adopted new techniques in music. Literature review and purposive sampling method were used in the study, and musical style analysis was made about the composer. Three works titled Three Musical Poems, Three Paintings by Dali and Five Etudes for Violin and Piano, in which the composer used the 12-tone technique and the method of universal serialism between 1950 and 1960, were analyzed. We believe that obtaining data on how Usmanbaş applied the 12-tone technique and the integral serialism method and how these practices were reflected in his later works will be important in terms of contributing to the studies and literature in this field. Three Musical Poems is the first work in which he applied the 12-tone technique the whole. Usmanbaş’s meeting with Dallapicola during the composition led the composer to take more free path in this technique. The notation he used in Three Paintings by Dali, which he composed after this work, is the composer's introduction to random and graphic notation. With the Five Etudes for Violin and Piano, the composer took the 12-tone technique to the next level and achieved integral serialism. We believe that a comparative analysis of the composer's stylistic features achieved in these three works with the works of his contemporaries or other composers who lived in different time periods in the texture of 12-tone music and serialism will provide data for future studies in this field. Tasarım/veri/metodoloji – Rize il merkezinde Sayısal eğitim veren, sözel eğitim veren ve mesleki eğitim veren 3 lisedeki 390 öğrenciye anket uygulanmıştır. Ankette finansal tutumu ölçmeye yönelik, finansal davranışı ölçmeye yönelik, finansal okuryazarlık düzeyini ölçmeye yönelik sorular ile demografik özellikleri tespit etmeye yönelik toplam 40 soru yer almaktadır. Bulgular – Çalışma sonucunda öğrencilerin genel finansal okuryazarlık düzeylerinin orta düzeyde olduğu tespit edilmiştir. Sayısal eğitim veren lisenin öğrencilerinin finansal okuryazarlık düzeylerinin diğerlerine göre daha yüksek olduğu tespit edilmiştir. Erkek öğrencilerin finansal okuryazarlık düzeylerinin kadın öğrencilerden daha yüksek olduğu, öğrencilerin yaşı yükseklikçe finansal okuryazarlık düzeylerinin arttığı ve üst sınıftaki öğrencilerin alt sınıftaki öğrencilere göre daha yüksek finansal okuryazarlık düzeyine sahip olduğu sonucuna ulaşılmıştır. The 20th century composer İlhan Usmanbaş stands out as a composer who seeks the new in his works and reflects the techniques of the era to his compositions through his own filter. This line of the composer, which started with the 12-tone technique after 1950, continued in the following period with integral serialism, relative notation and randomness. The works composed by Usmanbaş between 1950 and 1960 are seen as the breaking point in his composition. In this context, the aim of this study is to investigate the influences on Usmanbaş's composition after 1960 and to examine how the composer used the contemporary musical writing of the period. In this direction, the study focuses on the period when the composer adopted new techniques in music. Literature review and purposive sampling method were used in the study, and musical style analysis was made about the composer. Three works titled Three Musical Poems, Three Paintings by Dali and Five Etudes for Violin and Piano, in which the composer used the 12-tone technique and the method of universal serialism between 1950 and 1960, were analyzed. We believe that obtaining data on how Usmanbaş applied the 12-tone technique and the integral serialism method and how these practices were reflected in his later works will be important in terms of contributing to the studies and literature in this field. Three Musical Poems is the first work in which he applied the 12-tone technique the whole. Usmanbaş’s meeting with Dallapicola during the composition led the composer to take more free path in this technique. The notation he used in Three Paintings by Dali, which he composed after this work, is the composer's introduction to random and graphic notation. With the Five Etudes for Violin and Piano, the composer took the 12-tone technique to the next level and achieved integral serialism. We believe that a comparative analysis of the composer's stylistic features achieved in these three works with the works of his contemporaries or other composers who lived in different time periods in the texture of 12-tone music and serialism will provide data for future studies in this field.
Keywords : 12 tone, Contemporary music, İlhan Usmanbaş, Integral serialism, Music analysis, Musicology, Second Viennese School