{"id":17379,"date":"2015-09-01T16:14:20","date_gmt":"2015-09-01T13:14:20","guid":{"rendered":"http:\/\/109.232.216.219\/~bilimvegelecek\/?p=17379"},"modified":"2018-01-23T16:20:09","modified_gmt":"2018-01-23T13:20:09","slug":"muzikte-rastlanti-ve-john-cage","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2015\/09\/01\/muzikte-rastlanti-ve-john-cage","title":{"rendered":"M\u00fczikte rastlant\u0131 ve John Cage"},"content":{"rendered":"

John Cage\u2019in 20. y\u00fczy\u0131l\u0131n en \u00f6nemli m\u00fczisyeni ve 1950\u2019lerden itibaren modern sanatlar\u0131 en \u00e7ok etkileyen ki\u015fi oldu\u011funu iddia edenlerin say\u0131s\u0131 az de\u011fil. Cage, tekrarlardan uzak, hep yeniyi arayan bir \u00f6\u011frenci olarak rastlant\u0131y\u0131 m\u00fczi\u011finin temeli yapt\u0131. Yetinmedi, tiyatroya, dansa, grav\u00fcre, vb. alanlara uygulad\u0131. Dikkat kesilin, her yerde ondan bir \u015feyler var.\u00a0<\/em><\/p>\n

1982 y\u0131l\u0131n\u0131n so\u011fuk bir Ocak gecesine gidiyoruz. G. B\u00fcchner\u2019in Lenz <\/em>isimli k\u0131sa roman\u0131yla aylarca saplant\u0131l\u0131 bir bi\u00e7imde u\u011fra\u015fan tiyatro ekibinin piyanisti Semih F\u0131r\u0131nc\u0131o\u011flu\u2019nun yan\u0131na birisi yakla\u015f\u0131yor. \u0130zleyicilerden John Cage ve Merce Cunningham\u2019\u0131n kendisiyle tan\u0131\u015fmak istediklerini o an \u00f6\u011freniyor F\u0131r\u0131nc\u0131o\u011flu.<\/p>\n

New York\u2019taki bu g\u00f6r\u00fc\u015fmenin g\u00fcndeminde, oyunda \u00e7alg\u0131 olarak kullan\u0131lan piyano yer al\u0131yor. F\u0131r\u0131nc\u0131o\u011flu ile oyuncu C. Bruce g\u00f6steriye haz\u0131rlan\u0131rlarken, \u201c[m\u00fczi\u011fin oyuncuya al\u0131\u015f\u0131ld\u0131k bi\u00e7imde e\u015flik etmesi yerine oyuncuyla e\u015f d\u00fczeyde bir birim olu\u015fturmas\u0131na\u201d (F\u0131r\u0131nc\u0131o\u011flu, s.2) (1) karar veriyorlar. F\u0131r\u0131nc\u0131o\u011flu piyanosuyla \u00e7al\u0131\u015fmalar yaparken s\u0131n\u0131rland\u0131\u011f\u0131n\u0131 fark edip kimi yenilikler ar\u0131yor. Haftalarca s\u00fcren aray\u0131\u015flardan sonra piyanonun \u00f6n kapa\u011f\u0131n\u0131, \u00e7eki\u00e7 sistemini \u00e7\u0131kar\u0131yor; tel, silgi, farkl\u0131 t\u00fcrde sopalar, vb. nesnelerle tellere vurarak, ilgin\u00e7 t\u0131n\u0131lar elde ediyor. Cage o gece bu \u00e7alg\u0131ya bir isim verip vermedi\u011fini sordu\u011funda, F\u0131r\u0131nc\u0131o\u011flu\u2019nun yan\u0131t\u0131 \u201csoyulmu\u015f piyano\u201d oluyor. Cage\u2019in g\u00f6steride, uzun y\u0131llar \u00f6nceki \u201chaz\u0131rlanm\u0131\u015f piyano\u201dsunu ve zorlu yolculu\u011funu hat\u0131rlad\u0131\u011f\u0131na \u015f\u00fcphe yok.<\/p>\n

Arnold Sch\u00f6nberg ve Cage\u2019in geli\u015fimi<\/strong><\/p>\n

Cage, okul tarihindeki en iyi ortalamayla liseden mezun olduktan sonra ba\u015flad\u0131\u011f\u0131 iyi bir \u00fcniversitenin ikinci y\u0131l\u0131nda, zaman kayb\u0131 diyerek resmi e\u011fitimi b\u0131rak\u0131r. Kendisini geli\u015ftirmek i\u00e7in ba\u015fka bir yol izlemeyi tercih eder. 1,5 y\u0131l\u0131n\u0131, Avrupa ve Kuzey Afrika\u2019da m\u00fczik, resim, edebiyat, mimari, vb. alanlarda ara\u015ft\u0131rmalar yaparak ge\u00e7irir ve m\u00fczikte Sch\u00f6nberg\u2019e odaklan\u0131r.<\/p>\n

\"\"
Bir \u201chaz\u0131rlanm\u0131\u015f piyano\u201d \u00f6rne\u011fi. kaynak: gsu.edu<\/figcaption><\/figure>\n

Sch\u00f6nberg, I. Stravinsky ile beraber, 1920-30\u2019lar\u0131n m\u00fczik d\u00fcnyas\u0131ndaki iki \u00f6nemli isimden biridir. \u201cCage\u2019in bu d\u00f6nemde yazd\u0131\u011f\u0131 m\u00fczikler kabaca Sch\u00f6nberg\u2019in diziselli\u011fine benzeyen, matematiksel bir temele oturtmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 atonal \u00e7al\u0131\u015fmalard\u0131r.\u201d (s.7) Cage, tonal m\u00fczi\u011fi a\u015fan, belirli bir tonu merkeze almayan, on iki ton sistemiyle tan\u0131d\u0131\u011f\u0131m\u0131z Sch\u00f6nberg\u2019e hayrand\u0131r. Bu nedenple, \u00f6nce Sch\u00f6nberg\u2019in \u00f6\u011frencisi A. Weiss\u2019tan, ard\u0131ndan 1935-37 aras\u0131nda Sch\u00f6nberg\u2019in kendisinden dersler al\u0131r. F\u0131r\u0131nc\u0131o\u011flu, Cage\u2019i anlamak i\u00e7in Sch\u00f6nberg \u00fczerinde durmak gerekti\u011fini belirtiyor. Sch\u00f6nberg\u2019in yeni sisteminde de kurallar vard\u0131r; sistem sesin perdesiyle ilgilidir, eserde b\u00fct\u00fcnl\u00fck g\u00f6zetilir, m\u00fczi\u011fin bir \u015fey anlatmak, ifade etmek amac\u0131 bulunmaktad\u0131r. Zamanla Sch\u00f6nberg ile Cage aras\u0131nda g\u00f6r\u00fc\u015f ayr\u0131l\u0131klar\u0131 ortaya \u00e7\u0131kmaya ba\u015flar. Cage armoniyi ve perdeyi merkeze koymak yerine, t\u0131n\u0131 ve s\u00fcreye a\u011f\u0131rl\u0131k vermektedir.<\/p>\n

Fikirleri bu s\u0131ralarda iyice \u015fekillenmekte olan Cage, asistanl\u0131\u011f\u0131n\u0131 yapt\u0131\u011f\u0131 bir film yap\u0131mc\u0131s\u0131ndan etkilenerek, herhangi bir nesneden ses elde etmeye, bilinen vurmal\u0131 \u00e7alg\u0131lar d\u0131\u015f\u0131ndaki bu nesneleri de kullanmaya ba\u015flar. M\u00fczikte her \u015feyden \u00f6nce sesin geldi\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc i\u00e7in her t\u00fcrl\u00fc sesi kullanmaya y\u00f6nelir. Melodi veya armoni ilk \u00f6nceli\u011fi de\u011fildir. \u201cHer t\u00fcrl\u00fc m\u00fczik aras\u0131ndaki en k\u00fc\u00e7\u00fck ortak payda budur. Ses de d\u00f6rt niteli\u011fin bile\u015fimiyle belirlenir: perde, g\u00fcrl\u00fck, s\u00fcre ve t\u0131n\u0131.\u201d (s.14) Sesin en \u00f6nemli bile\u015feni t\u0131n\u0131d\u0131r. G\u00fcr\u00fclt\u00fc de bir sestir, m\u00fczikal olan ve olmayan ses ayr\u0131m\u0131 hatal\u0131d\u0131r. Cage gelene\u011fe kar\u015f\u0131 durmaktad\u0131r. Mart 1940\u2019ta, S. Fort\u2019un dans g\u00f6sterisi i\u00e7in haz\u0131rlayaca\u011f\u0131 m\u00fczikle u\u011fra\u015f\u0131rken, piyanonun telleri aras\u0131na vida, k\u00e2\u011f\u0131t gibi nesneler s\u0131k\u0131\u015ft\u0131r\u0131r ve \u00fcnl\u00fc \u201chaz\u0131rlanm\u0131\u015f piyano\u201dsunu olu\u015fturur. Cage bu y\u00f6ntemle piyanoda t\u0131n\u0131y\u0131 de\u011fi\u015ftirmenin yolunu bulmu\u015ftur. Haz\u0131rlanm\u0131\u015f piyano, modern m\u00fczik i\u00e7in ayr\u0131 bir \u00e7alg\u0131 olarak kabul edilecektir.<\/p>\n

Rastlant\u0131 ve I Ching<\/strong><\/p>\n

1951-52, F\u0131r\u0131nc\u0131o\u011flu\u2019na g\u00f6re Cage\u2019in en yo\u011fun ve \u00fcretken oldu\u011fu d\u00f6nemdir. Cunningham\u2019\u0131n bir eserine e\u015flik etmek \u00fczere yaz\u0131lan Sixteen Dances<\/em>, Cage\u2019in \u201cifade\u201d, \u201cama\u00e7\u201d, \u201cniyet\u201d gibi kavramlardan ilk uzakla\u015fmas\u0131d\u0131r. (s.27) Cage, evrenin nesnel bir \u015fekilde kavranmas\u0131 taraftar\u0131d\u0131r. Anlam aramaktan ziyade bir \u015feyin ne oldu\u011fuyla ilgilidir. Do\u011fan\u0131n i\u015fleyi\u015findeki rastlant\u0131y\u0131, sanata ta\u015f\u0131maktad\u0131r. Bu par\u00e7an\u0131n \u00fc\u00e7\u00fcnc\u00fc ve son b\u00f6l\u00fcm\u00fcnde ilk defa I Ching <\/em>kullanmaya ba\u015flar. I Ching<\/em>, \u00c7in felsefesi ve kehanetlere dayanan bir kitapt\u0131r. Cage i\u00e7in \u00f6nemli olan, mistik veya gizemli yorumlar de\u011fildir elbette. Amac\u0131, bu kitaptaki rastlant\u0131 y\u00f6ntemlerini kullanarak beste yapmak; egosundan, ki\u015fisel tercihlerden kurtulup rastlant\u0131yla yol alabilmektir. Yaz\u0131 tura atar gibi I Ching <\/em>paralar\u0131yla sesin perdesini, s\u00fcresini, g\u00fcrl\u00fc\u011f\u00fcn\u00fc belirler. Bu \u015fekildeki ilk bestesi Music of Changes<\/em>, icras\u0131 imk\u00e2ns\u0131z gibi dursa da, Cage\u2019in uzun y\u0131llar beraber \u00e7al\u0131\u015faca\u011f\u0131, usta piyanist David Tudor taraf\u0131ndan 1952\u2019de \u00e7al\u0131n\u0131r. Imaginary Landscape No. 4<\/em>, \u201c[s]unum an\u0131nda ne sonu\u00e7 verece\u011fi \u00f6nceden bilinmeyen ilk m\u00fczik yap\u0131t\u0131 olarak tarihe\u201d (s.29) ge\u00e7er. \u201c\u0130lk dinletimi Mart 1953\u2019te yap\u0131lan Williams Mix <\/em>de rastlant\u0131 y\u00f6ntemiyle bestelenmi\u015f, b\u00fct\u00fcn\u00fcyle manyetik bant kullanan ilk elektronik yap\u0131t\u201d (s.30) olur. S\u00f6z konusu i\u015flemleri tiyatroya da ta\u015f\u0131yan Cage, sahnede ayn\u0131 anda ancak birbiriyle ilintisiz \u015fekilde dans etme, metin ve \u015fiir okuma, piyano \u00e7alma, film g\u00f6sterimi yapma, vb. metotlarla teatral g\u00f6steri gelene\u011fini sorgulamaya giri\u015fir.<\/p>\n

Al\u0131\u015f\u0131lmad\u0131k projeler<\/strong><\/p>\n

D\u00f6rt otuz \u00fc\u00e7 <\/em>isimli, d\u00f6rt dakika, otuz \u00fc\u00e7 saniye s\u00fcren eserle Cage deprem etkisi yaratan bir ad\u0131m atar. F\u0131r\u0131nc\u0131o\u011flu bu yap\u0131ttan, \u201cyaln\u0131zca Cage\u2019in en bilinen, en \u00f6nemli say\u0131lan i\u015fi de\u011fil, tarihte ikinci bir \u00f6rne\u011fine rastlanmam\u0131\u015f, estetik gelenekle ba\u011f\u0131n\u0131 en radikal bi\u00e7imde koparm\u0131\u015f sanat yap\u0131t\u0131\u201d (s.33) olarak s\u00f6z ediyor. Tudor\u2019un bir konserde icra etti\u011fi eser, piyano kapa\u011f\u0131n\u0131 kapat\u0131p kronometreyi \u00e7al\u0131\u015ft\u0131rmas\u0131, belirli bir s\u00fcre boyunca hi\u00e7bir \u015fey yapmadan beklemesi, ard\u0131ndan kapa\u011f\u0131 a\u00e7\u0131p k\u0131sa bir s\u00fcre sonra tekrar kapatmas\u0131, yeniden kronometreyi \u00e7al\u0131\u015ft\u0131rmas\u0131 d\u00f6ng\u00fcs\u00fcnden ibarettir. Cage\u2019in amac\u0131 dinlemeye odaklanmakt\u0131r. \u0130nsanlar\u0131n sessiz sand\u0131klar\u0131 ortamda bile dinlenecek bir \u015feyler vard\u0131r. Bu eserle beraber pek \u00e7ok isim Cage\u2019e s\u0131rt \u00e7evirir.<\/p>\n

Avrupa m\u00fczi\u011fine ac\u0131mas\u0131z ele\u015ftiriler getiren Cage, sadece beste a\u015famas\u0131nda de\u011fil, icra s\u0131ras\u0131nda da rastlant\u0131y\u0131 merkeze koymaktad\u0131r. Bu d\u00f6nemde ba\u015fvurdu\u011fu kavram, \u201cbelirlenmemi\u015flik\u201dtir (indeterminacy<\/em>). 1967\u2019de, bilgisayarc\u0131 L. Hiller\u2019la tan\u0131\u015f\u0131r ve ya\u015fam\u0131ndaki en geni\u015f kapsaml\u0131 i\u015flerden biri olan HPSCHD <\/em>\u00fczerinde \u00e7al\u0131\u015fmaya ba\u015flar. Cage\u2019in rastlant\u0131 y\u00f6ntemleriyle bilgisayar algoritmalar\u0131 birle\u015ftirilir. Bu arada Ed Kobrin isimli bir programc\u0131, \u201cI Ching<\/em>\u2019in bilgisayar simulasyonunu yazmay\u0131 ba\u015far\u0131r\u201d (s.52). HPSCHD <\/em>ile olduk\u00e7a karma\u015f\u0131k eserler, s\u0131ra d\u0131\u015f\u0131 sesler elde ederler.<\/p>\n

\"\"
I Ching ve Cage\u2019in s\u0131ra d\u0131\u015f\u0131 notasyonu. kaynak: e-flux.com<\/figcaption><\/figure>\n

Cage ve Tudor, 1985 y\u0131l\u0131nda, \u0130stanbul Festivali\u2019nde sahneye \u00e7\u0131karlar ancak Cage par\u00e7as\u0131n\u0131 bitirdi\u011finde, salonun yar\u0131s\u0131 \u00e7oktan bo\u015falm\u0131\u015ft\u0131r. (s.71) 1985\u2019te Cage Europera <\/em>isimli bir projeye ba\u015flar. Avrupa\u2019n\u0131n opera gelene\u011fini kar\u015f\u0131s\u0131na alacakt\u0131r. Cage\u2019in birbirinden ba\u011f\u0131ms\u0131z \u00f6\u011feleri kullanma \u00e7abas\u0131, Almancada Gesamtkunstwerk <\/em>olarak bilinen ve organik bir b\u00fct\u00fcnl\u00fc\u011f\u00fc olan anlay\u0131\u015fla terstir. Bilgisayar programc\u0131s\u0131 A. Culver\u2019\u0131n yard\u0131m\u0131yla Cage yine rastlant\u0131ya ba\u015fvurur ve toplad\u0131\u011f\u0131 verileri notalara d\u00f6ker. 1987\u2019de Frankfurt Operas\u0131 taraf\u0131ndan sahnelenen yap\u0131tta \u015fark\u0131c\u0131lar eserleri seslendirirken birbiriyle alakas\u0131z i\u015fler yapar; orkestra \u00fcyeleri kendi bireysel notalar\u0131n\u0131, bir \u015fef olmadan \u00e7alar; bir yandan da rastlant\u0131ya dayal\u0131 \u0131\u015f\u0131k g\u00f6sterisi s\u00fcrer. Alman bas\u0131n\u0131n\u0131n bu projeyle ilgili y\u00fcz civar\u0131nda yaz\u0131 yazmas\u0131, yap\u0131t\u0131n etkisini g\u00f6stermesi bak\u0131m\u0131ndan fikir verebilir.<\/p>\n

Ramapo Da\u011flar\u0131 <\/strong><\/p>\n

Son y\u0131llar\u0131nda \u201czaman parantezleri\u201d ad\u0131n\u0131 verdi\u011fi yeni bir besteleme tekni\u011fi geli\u015ftirir Cage. Bu \u00e7al\u0131\u015fmalar\u0131n\u0131, anar\u015fist bir toplumun \u00f6rne\u011fi olarak g\u00f6sterir. Rastlant\u0131y\u0131 yaz\u0131lar\u0131nda, sayfa d\u00fczenlemelerinde, mezostik \u015fiirlerinde, grav\u00fcrlerde, H. D. Thoreau ve J. Joyce metinlerinden yola \u00e7\u0131karak tamamlad\u0131\u011f\u0131 projelerde de kullan\u0131r.<\/p>\n

\u0130lgilendi\u011fi her \u015feyi birbiriyle ili\u015fkilendirmekte ve \u00fcretimlerinde yararlanmaktad\u0131r. Disiplin, adanm\u0131\u015fl\u0131k ve \u00e7al\u0131\u015fkanl\u0131k onun i\u00e7in vazge\u00e7ilmezdir. Ho\u015flansa da ho\u015flanmasa da bir i\u015fi ciddiyetle yapmay\u0131 hedeflemi\u015ftir. Tekrarlardan uzak, yeniyi arayan bir \u00f6\u011frencidir her zaman. Yaln\u0131zl\u0131\u011f\u0131, maddi zorluklar\u0131 \u00e7ok g\u00f6rm\u00fc\u015f, dilenecek kadar yoksul g\u00fcnler ge\u00e7irmi\u015ftir. Eserlerinde toplumsal yarar\u0131 asla geri plana atmadan, mevcut bozuk d\u00fczeni de\u011fi\u015ftirecek i\u015flere odaklanm\u0131\u015ft\u0131r.<\/p>\n

Kimsenin g\u00f6rmezden gelemeyece\u011fi bu b\u00fcy\u00fck besteci, kimilerine g\u00f6re 20. y\u00fczy\u0131l\u0131n en \u00f6nemli m\u00fczisyeni, 1950\u2019lerden itibaren modern sanatlar\u0131 en \u00e7ok etkileyen ki\u015fidir. 80 ya\u015f\u0131nda, 12 A\u011fustos 1992\u2019de hayat\u0131n\u0131 kaybetmi\u015f, iste\u011fi \u00fczerine k\u00fclleri, anne ve babas\u0131n\u0131nkiler gibi Ramapo Da\u011flar\u0131na serpilmi\u015ftir. Esen her r\u00fczg\u00e2r, ondan bir \u015feyler getirir bize.<\/p>\n

John Cage do\u011fadad\u0131r, m\u00fczi\u011fi gibi.<\/p>\n

Dipnotlar<\/strong><\/p>\n

1) John Cage, Se\u00e7me Yaz\u0131lar<\/em>, Yay\u0131na Haz\u0131rlayan ve \u00c7eviren: Semih F\u0131r\u0131nc\u0131o\u011flu, Pan Yay\u0131nc\u0131l\u0131k, (2012). Al\u0131nt\u0131lar\u0131n tamam\u0131 bu kitaptan, herhangi bir de\u011fi\u015fiklik olmadan yap\u0131ld\u0131. F\u0131r\u0131nc\u0131o\u011flu\u2019nun incelemelerinden yararland\u0131\u011f\u0131m i\u00e7in kaynak g\u00f6sterirken onun soyad\u0131n\u0131 kulland\u0131m. Cage\u2019in \u00e7al\u0131\u015fmalar\u0131ndan haberdar olmam\u0131 sa\u011flayan, yorumlar\u0131yla ve sa\u011flad\u0131\u011f\u0131 kaynaklarla bana destek olan, \u00e7evirmen Erhan Altan\u2019a te\u015fekk\u00fcr ederim. Yine onun \u00f6nerisiyle haz\u0131rlad\u0131\u011f\u0131m benzer ba\u015fl\u0131ktaki bir ba\u015fka \u00e7al\u0131\u015fma i\u00e7in 2 numaral\u0131 dipnota bakabilirsiniz.<\/p>\n

2) Murat Naro\u011flu, M\u00fczikte matematik, bilgisayar ve Xenakis<\/em>, Bilim ve Gelecek Dergisi, Say\u0131 137, s.86-87, (Temmuz 2015)<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

John Cage\u2019in 20. y\u00fczy\u0131l\u0131n en \u00f6nemli m\u00fczisyeni ve 1950\u2019lerden itibaren modern sanatlar\u0131 en \u00e7ok etkileyen ki\u015fi oldu\u011funu iddia edenlerin say\u0131s\u0131 az de\u011fil. Cage, tekrarlardan uzak, hep yeniyi arayan bir \u00f6\u011frenci olarak rastlant\u0131y\u0131 m\u00fczi\u011finin temeli yapt\u0131. Yetinmedi, tiyatroya, dansa, grav\u00fcre, vb. alanlara uygulad\u0131. Dikkat kesilin, her yerde ondan bir \u015feyler var.\u00a0 1982 y\u0131l\u0131n\u0131n so\u011fuk bir Ocak […]<\/p>\n","protected":false},"author":441,"featured_media":17380,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[176,2023],"tags":[482,657,343],"class_list":["post-17379","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-139-sayi","category-yorungemiz-bilim","tag-bilim","tag-evren","tag-muzik"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t