JOHN CAGE VE ESERLERİNDE İFADE ETTİĞİ “BELİRSİZLİK” ÖGESİNİN İNCELENMESİ

Yıl 2023, Cilt: 8 Sayı: 17, 1 – 12, 31.12.2023

Deniz Doğan

Öz

John Cage, one of the most important composers of the twentieth century, characterised indeterminacy
in music as the performance of a work in significantly different ways. According to the composer,
Indeterminacy exists in two states: the uncertainty of the composition and the uncertainty of the
performer.
In the 1950s, Cage abandoned the use of traditional music notation and switched to a graphic notation
system in which he could use the space on the score pages to represent the frequency of sound events.
Since the graphic notation did not show traditional time and traditional sound devices, the performer
could not know exactly what the note wanted to affect. Thus, the element of Indeterminacy in Cage’s
music emerged. Indeterminacy offered the performer the chance to interpret what is not obligatory,
only what is offered, in contrast to what is given in traditional notation in works based on uncertainty.
During his lectures in Darmstadt, the composer’s stance against European music and traditionalism
was noticed and caused him to receive negative reactions. However, what Cage wanted to do was
to make us think about new music, to question it and to convey the innovative ideas he tried to put
forward for the liberation of music.
The aim of this article is to examine Cage’s element of ambiguity, its use in the composer’s works,
and the effects of the freedom of interpretation and discovery given to the performer with graphic
notation on twentieth-century music.

Anahtar Kelimeler

John Cage, Indeterminacy, Uncertainty, Chance, Changes, Graphic Notation

Kaynakça

• Ammer, C. (2004). The Facts on File Dictionary of Music, Fourth Edition. New York: Facts On File, Inc.
• Bernstein, D. ve Hatch, C. (2000). Writings through John Cage’s Music, Poetry, and Art. Chicago: University of Chicago Press.
• Bock, J. (2008). Concord in Massachusetts, Discord in the World: The Writings of Henry Thoreau and John Cage. Frankfurt am Main: Peter Lang GmbH.
• Brown, A. R. (2007). Computer in Music Education: Amplifying Musicality. New York: Routledge, Taylor & Francis Group.
• Brown, C. (2009). Chance and Circumstance: Twenty Years with Cage and Cunningham. Evanston, Illinois: Northwestern University Press.
• Cage, J. (1961). Music for Carillon No.1. Edition Peters, New York: Henmar Press Inc.
• Cage, J. (1963). Fontana Mix, graphic notation. Edition Peters. New York: Henmar Press Inc.
• Chase, S. ve Thomas, P. (2010). Changing the System: The Music of Christian Wolff. England-USA: Ashgate Publishing Company.
• Collins, N. (2006). Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge.
• Danvers, J. (2006). Picturing Mind: Paradox, Indeterminacy and Consciousness in Art & Poetry. Amsterdam-New York: Editions Rodopi B.V.
• Dean, R. T. (2009). The Oxford Handbook of Computer Music. New York: Oxford University Press, Inc.
• Díaz, E. (2015). The Experimenters: Chance and Design at Black Montain College. Chicago: The University of Chicago Press.
• Duckworth, W. ve Fleming, R. (1996). Sound and Light: La Monte Young and Marian Zazeela. Cranbury, USA: Associated Press, Inc.
• Dunn, R. (1962). John Cage: Catalogue of Works. New York: Henmar Press/ C. F. Peters Corp.
• Feisst, S. (2009). John Cage and Improvisation: An Unresolved Relationship in Musical Improvisation. Art, Education and Society. Arizona: Arizona State University.
• Fetterman, W. (1996). John Cage’s Theater Pieces: Notations and Performances. New York: Routledge.
• Griffiths, P. (2010). Modern Music and After (3rd ed.)New York: Oxford University Press.
• Haskins, R. (2004). An Anarchic Society of Sounds’: The Number Pieces of John Cage. Doctoral Dissertation. University of Rochester, Eastman School of Music.
• Holmes, T. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition. New York and London: Routledge.
• Holmes, T. (2012). Electronic and Experimental Music: Technology, Music and Culture. (3rd ed). New York and London: Routledge.
• Iddon, M. (2013). John Cage and David Tudor: Correspondence on Interpretation and Performance (Music Since 1900). Cambridge: Cambridge University Press.
• Jaeger, P. (2013). John Cage and Buddhist Ecopoetics: New Directions in Religion and Literature. London and New York: Bloomsbury Publishing.
• Katsushi, N. (2010). What is “sounds which are just sounds”?: On the Acceptance of John Cage’s Indeterminate Musical Works. The Japanese Society for Aesthetics. Kyoto: Kyoto University.
• Kostelanetz, R. (1993). John Cage Writer: Previously Uncollected Pieces, Selected and Introduced by Richard Kostelanetz. New York: Limelight Editions.
• Kostelanetz, R. (2003). Conversing with Cage. New York and London: Routledge.
• Lemon, Eric. (2012). Definitions: Chance and Indeterminate. Open Source Music. 1317. 30.09.2023 https:// opensourcemusic.org/?p=1317
• Lochhead, J. I. (1994). Performance Practice in the Indeterminate Works of John Cage. Performance Practice Review. Volume:7, Number 2, Article 11.
• Mabry, S. (2002). Exploring Twentieth-Century Vocal Music: A Practical Guide to Innovations in Performance and Repertoire. New York: Oxford University Press, Inc.
• Mayfield, C. E. (2013). Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Kayboard Skills. (2. Baskı). Boston, USA: Shirmer Cengage Learning.
• Muecke, W. M. ve Zach, M. S. (2007). Essays on the Intersection of Music and Architecture. Volume 1. USA: Culicidae Architectural Press.
• Nicholls, D. (2002). The Cambridge Companion to John Cage. Cambridge: Cambridge University Press.
• Niebisch, A. (2012). Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication. New York: Palgrave McMillan.
• Pritchett, J. (1996). The Music of John Cage (Music in the Twentieth Century) Cambridge: Cambridge University Press.
• Revill, D. (2014). The Roaring Silence: John Cage: A Life. New York: Arcade Publishing.
• Sandford, M. R. (1995). Happenings and Other Acts. London: Routledge.
• Seibt, J. (2003). Process Theories: Cross diciplinary Studies in Dynamic Categories. USA: Kluwe Academic Publishers.
• Shook, J. R. (2005). The Dictionary of Modern American Philosophers, Volume 1. England: Thoemmes Continuum.
• Silverman, K. (2012). Begin Again: a biography of John Cage. Evanston, Illinois: Northwestern University Press.
• Smith, E. (2013). The Depeche Mode Handbook: Everything you need to know about Depeche Mode. Australia: Emereo Publishing.
• Simms, B. (1986). Music of the Twentieth Century: Style and Structure. London: Collier Macmillan.
• Thurman, R. (1976). The Holy Teaching of Vimalakīrti: A Mahāyāna Scripture. London: Pennsylvania State, UP.
• Tick, J. (2008). Music in the USA: A Documentary Companion. New York: Oxford University Press.
• Turek, R. (1988). The Elements of Music: Concepts and Applications. New York: Mcgraw – Hill College.
• Turner, M. J. (1971). New Dance: Approaches to Nonliteral Choreography. Pittsburgh: University of Pittsburgh Press.
• White J. D. ve Christensen, J. (2002). New Music of the Nordic Countries. United States: Pendragon Press.
• Winkler, T. (2001). Composing Interactive Music: Techniques and Ideas Using Max. Massachusetts: First MIT Press.

JOHN CAGE VE ESERLERİNDE İFADE ETTİĞİ “BELİRSİZLİK” ÖGESİNİN İNCELENMESİ

Yıl 2023, Cilt: 8 Sayı: 17, 1 – 12, 31.12.2023

Deniz Doğan

Öz

Yirminci Yüzyılın en önemli bestecilerinden biri olan John Cage, müzikte belirsizliği bir eserin önemli
ölçüde farklı şekillerde icra edilmesi olarak nitelemiştir. Besteciye göre Indeterminacy (Belirsizlik),
kompozisyonun belirsizliği ve icracının belirsizliği olmak üzere iki durumda varlık gösterir.
Cage, 1950’lerde geleneksel müzik notasyonu kullanımını bırakmış ve nota sayfalarındaki boşluğu,
ses olaylarının sıklığını temsil edebilecek şekilde kullanabileceği grafik notasyon sistemine geçiş
yapmıştır. Bu besteleme yöntemi ile Cage, geleneksel notasyonda bulunan nota sembolleri ve ses
arasındaki ilişkiyi kesin olmayan bir boyuta dönüştürmüş, böylece eserlerindeki tınlama özellikleri
sayesinde yeni bir performans biçimi temelini ortaya koymuştur.
Grafik notasyon geleneksel zaman ve geleneksel ses araçlarını göstermediği için performansçı notanın
tam olarak neyi etkilemek istediğini bilemiyordu. Böylece Cage’ in müziğindeki Indeterminacy yani
belirsizlik ögesi ortaya çıkmış oldu. Indeterminacy, icracıya belirsizlik üzerine kurulu olan eserlerde
geleneksel notasyonda verilenin tam aksine; zorunlu olmayanı, sadece teklif edileni yorumlama
şansı sunmuştur. Bestecinin Darmstadt’da verdiği konferanslar sırasında Avrupa müziğine ve
gelenekselliğe olan karşı duruşu fark edilmiş ve olumsuz tepkiler almasına sebebiyet vermiştir.
Fakat Cage’in yapmak istediği; yeni müzik üzerine düşünmemizi sağlamak, sorgulamak ve müziğin
özgürleşmesi için ortaya koymaya çalıştığı yenilikçi fikirleri aktarabilmektir.
Bu makalenin amacı, Cage’in belirsizlik unsurunu, bu unsurun bestecinin eserlerindeki kullanılışını
ve grafik notasyon ile birlikte icracıya tanıdığı yorum ve keşif yapabilme özgürlüğünün yirminci
yüzyıl müziğindeki etkilerini incelemektir.

Anahtar Kelimeler

John Cage, Belirsizlik, Şans, Değişimler, Grafik Notasyon.

Kaynakça

• Ammer, C. (2004). The Facts on File Dictionary of Music, Fourth Edition. New York: Facts On File, Inc.
• Bernstein, D. ve Hatch, C. (2000). Writings through John Cage’s Music, Poetry, and Art. Chicago: University of Chicago Press.
• Bock, J. (2008). Concord in Massachusetts, Discord in the World: The Writings of Henry Thoreau and John Cage. Frankfurt am Main: Peter Lang GmbH.
• Brown, A. R. (2007). Computer in Music Education: Amplifying Musicality. New York: Routledge, Taylor & Francis Group.
• Brown, C. (2009). Chance and Circumstance: Twenty Years with Cage and Cunningham. Evanston, Illinois: Northwestern University Press.
• Cage, J. (1961). Music for Carillon No.1. Edition Peters, New York: Henmar Press Inc.
• Cage, J. (1963). Fontana Mix, graphic notation. Edition Peters. New York: Henmar Press Inc.
• Chase, S. ve Thomas, P. (2010). Changing the System: The Music of Christian Wolff. England-USA: Ashgate Publishing Company.
• Collins, N. (2006). Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge.
• Danvers, J. (2006). Picturing Mind: Paradox, Indeterminacy and Consciousness in Art & Poetry. Amsterdam-New York: Editions Rodopi B.V.
• Dean, R. T. (2009). The Oxford Handbook of Computer Music. New York: Oxford University Press, Inc.
• Díaz, E. (2015). The Experimenters: Chance and Design at Black Montain College. Chicago: The University of Chicago Press.
• Duckworth, W. ve Fleming, R. (1996). Sound and Light: La Monte Young and Marian Zazeela. Cranbury, USA: Associated Press, Inc.
• Dunn, R. (1962). John Cage: Catalogue of Works. New York: Henmar Press/ C. F. Peters Corp.
• Feisst, S. (2009). John Cage and Improvisation: An Unresolved Relationship in Musical Improvisation. Art, Education and Society. Arizona: Arizona State University.
• Fetterman, W. (1996). John Cage’s Theater Pieces: Notations and Performances. New York: Routledge.
• Griffiths, P. (2010). Modern Music and After (3rd ed.)New York: Oxford University Press.
• Haskins, R. (2004). An Anarchic Society of Sounds’: The Number Pieces of John Cage. Doctoral Dissertation. University of Rochester, Eastman School of Music.
• Holmes, T. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition. New York and London: Routledge.
• Holmes, T. (2012). Electronic and Experimental Music: Technology, Music and Culture. (3rd ed). New York and London: Routledge.
• Iddon, M. (2013). John Cage and David Tudor: Correspondence on Interpretation and Performance (Music Since 1900). Cambridge: Cambridge University Press.
• Jaeger, P. (2013). John Cage and Buddhist Ecopoetics: New Directions in Religion and Literature. London and New York: Bloomsbury Publishing.
• Katsushi, N. (2010). What is “sounds which are just sounds”?: On the Acceptance of John Cage’s Indeterminate Musical Works. The Japanese Society for Aesthetics. Kyoto: Kyoto University.
• Kostelanetz, R. (1993). John Cage Writer: Previously Uncollected Pieces, Selected and Introduced by Richard Kostelanetz. New York: Limelight Editions.
• Kostelanetz, R. (2003). Conversing with Cage. New York and London: Routledge.
• Lemon, Eric. (2012). Definitions: Chance and Indeterminate. Open Source Music. 1317. 30.09.2023 https:// opensourcemusic.org/?p=1317
• Lochhead, J. I. (1994). Performance Practice in the Indeterminate Works of John Cage. Performance Practice Review. Volume:7, Number 2, Article 11.
• Mabry, S. (2002). Exploring Twentieth-Century Vocal Music: A Practical Guide to Innovations in Performance and Repertoire. New York: Oxford University Press, Inc.
• Mayfield, C. E. (2013). Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Kayboard Skills. (2. Baskı). Boston, USA: Shirmer Cengage Learning.
• Muecke, W. M. ve Zach, M. S. (2007). Essays on the Intersection of Music and Architecture. Volume 1. USA: Culicidae Architectural Press.
• Nicholls, D. (2002). The Cambridge Companion to John Cage. Cambridge: Cambridge University Press.
• Niebisch, A. (2012). Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication. New York: Palgrave McMillan.
• Pritchett, J. (1996). The Music of John Cage (Music in the Twentieth Century) Cambridge: Cambridge University Press.
• Revill, D. (2014). The Roaring Silence: John Cage: A Life. New York: Arcade Publishing.
• Sandford, M. R. (1995). Happenings and Other Acts. London: Routledge.
• Seibt, J. (2003). Process Theories: Cross diciplinary Studies in Dynamic Categories. USA: Kluwe Academic Publishers.
• Shook, J. R. (2005). The Dictionary of Modern American Philosophers, Volume 1. England: Thoemmes Continuum.
• Silverman, K. (2012). Begin Again: a biography of John Cage. Evanston, Illinois: Northwestern University Press.
• Smith, E. (2013). The Depeche Mode Handbook: Everything you need to know about Depeche Mode. Australia: Emereo Publishing.
• Simms, B. (1986). Music of the Twentieth Century: Style and Structure. London: Collier Macmillan.
• Thurman, R. (1976). The Holy Teaching of Vimalakīrti: A Mahāyāna Scripture. London: Pennsylvania State, UP.
• Tick, J. (2008). Music in the USA: A Documentary Companion. New York: Oxford University Press.
• Turek, R. (1988). The Elements of Music: Concepts and Applications. New York: Mcgraw – Hill College.
• Turner, M. J. (1971). New Dance: Approaches to Nonliteral Choreography. Pittsburgh: University of Pittsburgh Press.
• White J. D. ve Christensen, J. (2002). New Music of the Nordic Countries. United States: Pendragon Press.
• Winkler, T. (2001). Composing Interactive Music: Techniques and Ideas Using Max. Massachusetts: First MIT Press.

Toplam 46 adet kaynakça vardır.

Ayrıntılar

Kaynak Göster

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