İLHAN USMANBAŞ’IN “MORTON’A (FELDMAN) GÖNDERMELER” VE “GÖNDERMELER II” ESERLERİNİN BESTECİLİK TEKNİKLERİ AÇISINDAN İNCELENMESİ
Özet
Throughout his compositional career, İlhan Usmanbaş incorporated new techniques and expressive methods in music into his musical language around the same time as his contemporaries in America and Europe. His works Allusions to Morton Feldman (Morton’a Göndermeler) and its expanded orchestral adaptation Allusions II (Göndermeler II) belong to the compositional period from the 1990s onwards, during which he adopted a more concrete writing style.
This study aims to reveal the relationships among the 36 sections in Allusions to Morton Feldman, the relationships among the 28 sections in Allusions II, the considerations taken into account during the orchestral adaptation, and how Usmanbaş alluded to Feldman, one of the significant figures of the 20th century, in these works. In the conducted study, Pitch Class Set Theory was used as a method to determine how pitches might have been organized in non-serial atonal music, to identify and classify the nature of the pitch material used throughout the work, and to establish their interrelationships. Finally, the similarities and differences of the mentioned works were identified and compared.
As a result of the research, it was observed that the sections, which appear to be independent from each other, are based on eight fundamental sections determined by considering the used pitch class sets, and that the other sections cluster around these fundamental sections to form a whole. In this context, it was concluded that Usmanbaş alluded to Feldman in terms of designing music by bringing together musical ideas that seem independent at first glance and ensuring continuity in the musical flow.
