8 Aralık 2012 Cumartesi

Bartok Mikrokosmos 72


Bartok Mikrokosmos 72
            Mm.1-2 starts with G in both melody and bass part and added 2 semitones vertical harmony to inwards so there is a chord GAFG. The chord has one octave and one 8 semitones. Bass parts and melody parts range distances are 6 semitones to C#. Both G  is a boarder and stable that we can look tenor and alto part for contour. Both in this parts contours distances are same and inwards. Contour starts in same time with G and two semitones away. Next step is climax point C# by 4 semitones. We are 6 semitones away from boarder. Intervals in contours are same and moving by 4 semitones up/down and back in five times. Vertical distances are 0-0-8-0-8-0. Shape is zigzag.
            Mm. 3-4 is qualitative as an answer of mm1-2. G is still boarder and F and A shown in weak beat differ from G. Climax pointd are C(alto) and D(tenor) in 7 semitone distance. Contours has own same intervals each other and they are 2-4-1-1-4. Intervals between contours are 0-8-0-2-0-8. Shape is envelope.
            Mm. 5-6 is variation of 1-2. 
Mm 7-8  is starts like 3-4. In Measure 7, lines are straight and outwards and reaching boarders next measure.  Measure 8 has accented and hanged in same points in intervals of 5 and 7 semitones. Its like a fight won by fifths!  We can say fist idea is end.
            Second idea is different in contours way and boarders position. Contours are going outwards and boarders in tenor and alto part.
            Mm. 9-10 Contour intervals are 2-4-1-1-4. Contours are drawing to climax point and return back once. Interval between contours are 8-0-8-8-8-0 semitones. Shape is envelope.
            Mm 11-12 similar with the last two measure. Climax distance is 7. Contours are still same and intervals by moves are 2-4-1-1-4-5. Climax point occured two times. Interval between contours are 8-0-8-2-8-0-2. Shape is envelope and zigzag.
            Mm 13-14 This measures can be considered it is a small development of mm 9-10. Ranges are similar. Until this measures whole pieces bass and treble parts drawn contrast line with same intervals. This measure, bass and treble parts has same line contrast but intervals are irrevelant. Treble drawn 4-4-1-2-4-2-4 and bass drawn 3-3-2-2-3-3-4. Vertical intervals are 8-0-7-4-8-0-4-2. Shape is zigzag and envelope.
            Mm 15-16 They are looking like some kind of a closing. E and G still draw out. A# and D diminished interval shown. Treble clef  starts with 6 semitone vertically.. Melody has 4 and 2 semitones intervals.  Bass part is first time rhytmically different. Its start with 5 semitones interval vertical. Line intervals are 2-2-2-2. Two measure has same motivic movements and drawing to only one way direction up is for preparing via shifting register the new idea in higher register.
            Mm 17-18 Has intervalic differences in treble and bass part. Lines are drawn similar and still inward. Treble part is 7 semitone distance. Bass part has 4 semitone distance. Treble melody interval is 2-4-1-1-4. Bass melody interval is 2-1-1-1-1. Vertical intervals are 8-4-2-2-1-4. Lines are in tenor and alto part. Shape is envelope.
            Mm 19-20 Treble part range is 6 semitones. Bass part range is 3 semitones. Treble melody interval is 1-4-2-2-4. Bass part melody interval is 1-1-1-1-1. Vertical intervals are 2-0-5-4-5-0. Shape is envelope.
            Mm 21-22 Melody parts changed to bass and sophrano part. Bass clef register shifted up. It is the first time flats are observed. Treble and bass melody range is 7. Bass melody interval is 2-4-(6)-7-1-4. Treble melody starts in first weak time and interval is 2-4-1-1-4. Vertical intervals are 2-6-2-3-4-5-6. Shape is envelope.
            Mm 23-24 Both parts are starting in first weak time. Only two part shown that reach the end of the piece in envelope shape. Measure 24 is similar with measure 8. Bass part is in bass clef again. Treble and bass melody interval is 5-1-1 to reach last measures tenor and alto parts. Measure 24 is a four part chord consist of 7 and 5 semitones.

Bartok Mikrokosmos No. 65


Bartok Mikrokosmos No. 65

            Mm. 1-4 Introduction. Starts with D-A and E-B. Every 5th chord moving 2 Semitones in a intention that wants to complete 5th cycles via starts from D and expand to comprisingly whole the 5th cycle in clockwise. Contour is up and down.
            Mm. 5-9 First Idea. Melody shows up against bass part at measure 5 and G occured in anticlockwise side in weak time. D dorian agreed with the F in measure 7 and also contour direction is changed,  become in same direction with bass part. F and C camed together in anticlockwise direction in 5 th cycle. The new notes observed in weak time. At Mm 9 , Eb used  with Bb. The new notes shows in strong beat and anticlocwise of fifth circle. Melody starts and ends with A.
            Mm. 10-14 Second Idea. Melody and Bass contours directions are changed and opposite. F# the new note found in weak position and clockwise side of  D. Mm 11,12 and 13 in a affect of D ionian and Phrigian which depends on weak beats. At Mm. 13, Bass contour direction changed  and goes downside. Melody starts and ends with D.
            Mm. 15-18 Third idea in D Dorian mode. Melody starts in C in high. Bass accompaniment changed and It’s in lower with long standings. Melody has small differences before. 8th notes observed in second measure of idea with new contour line seen. At Mm. 18 Last note of chromatic scale and last member of circle of fifths Ab shown in weak beat. Thus all notes shown up by whole step down and when contour drawing down. Melody starts and ends with C. Weak beat of mm18 has an accent that ties itself to next idea.
            Mm. 19-23 Fourth idea in D Phrigian mode that starts like it is Locrian. Melody contour is changed to opposite with third idea. Mm. 19–18 variated. Bass part has longer standings than third idea and differance in last beat of  mm 23 is in opposite direction. Melody starts and ends with D.
            Mm. 24-27 Coda. D dorian again and ends with D.
            

1 Temmuz 2012 Pazar

Ludwig Van BEETHOVEN SONATA No. 1 Op. 2 No. 1 Analysis


                Ludwig  Van  BEETHOVEN
                   SONATA No. 1 Op. 2 No. 1


ALLEGRO
Exposition
m.m  1- 8 : The first theme in f minor and ends with Half Cadence
m.m 9-20: Transition part.  It is modulated from f minor to A flat Major which is relative major of  f minor
m.m 20-28: The second theme starts in the second beat of measure 20 and ends in the first beat of measure 28.  The second theme is in A flat major and at the end of his theme, there is a Half Caddence.
m.m 28- 41: Transition part. İt is in A flat major .  It starts in the second beat of measure 28 and ends in the first beat of measure 41.
m.m 41- 48: It is codetta part and stil in A flat major.  At the end of codetta there is a PAC

Development
m.m  49- 55: The first theme repeated with there are some differences  such as  measure 50 is repeated in measure 51 again. His theme ends in the first beat of 55 with HC. And it is A flat Major.
m.m  55- 63 : The second theme starts  in b flat minor and ends in the first beat of measure 63 with HC.
m.m 63- 100: His is transition part. In the half of measure 63 and its tonality is do minor. Between 63-67 , small part of the second theme is repeated in the left hand  then  measures 68- 71 little part of the second theme repeated again but this time the right hand has the melody. In measure 70, it modulates to  “b flat minor” and after that modulates to  “ A flat major” in the 71th measure then modulates to “f minör” in the 74th measure.



Recapitulation
m.m 101-108: The first theme is repeated in the tonic and there is a HC at the end of the theme and at the end of the 108th measure there is a HC.
m.m 109-118: This is transition part. It is 8 measure long and in f minor.
m.m 120- 127: The second theme is repeated . It is in f minor and there is a HC at the end of the theme.
m.m 128- 140: It is transition part. There are 2 f minor scale in his part.
m.m 140- 152: Coda. It is in f minor and ends with the PAC


ADAGIO
Exposition
m.m 153- 161: The first theme in F major. It lasts 8 measures long. There is a PAC at the end.
m.m 162-184: There is a transition part. Measures 162- 169 contain some musical ideas from the first theme. ( in f minor). Measures  170- 174, these measures are kind of passing part. This part is in d minor which is relative minor of F major. Then in the 176th measure it modulates to C major which is  V of F major. It lasts until the 184th measure.
Recapitulation
m.m 185- 192: The first theme is repeated but there are some rhytmical changes. It is in F major and at the end of the theme, there is a PAC.
m.m 193- 200: Same musical ideas with measures 162-169 but there are some rhytmical changes. In F major
m.m 201- 208: Transition part. In F major . Mostly used V-I progression.
m.m 209- 213: Coda. In the 209th measure, there are lots of 32th notes and they present tonich chords .  At the end of the coda, the second movement finish with chords which are I-V-I (PAC)






MINUETTO
Minuet
m.m 214-227: The first theme is in f minor but in the 219th measure it modulates to A flat major which is relative major of f minor. It ends with IAC. At the end of the theme, there is a reprise . (14x14)
m.m 228- 253: Transition part. Between measures 228- 235, the first theme is represented again but his time harmonic progression is different and it modulates to f minor again in the 231th measure. This part has some varieties of the theme. At the end there is PAC
( theme lasts 28 measures long and the transition part lasts 27 measures. Theme part and transition part are nearly equal.)

Trio
m.m 254- 263: The first theme is  in F major. It lasts 10 measure long and ends with HC. It has reprise (10x10)
m.m 264- 286: Transition part. Measures 264- 279 are all about variation of the theme and then the 280th measure the theme is repeated.


PRESTISSIMO
Exposition
m.m 287- 294: The first theme which is in f minor and lasts 8 measure long, ends with HC.
m.m 295- 307: It is a transition part. Up to the 305th measure the first theme is varied. And also in the 299th measure, there is a modulation to c minor. Measures 306 and 307 are contains a scale which is c minor scale.
m.m 308- 315: The second theme begins which is in c minor. In the left hand there are triplets and that triplets contains the melody.
m.m 316- 335: There is a new melody who moves us to coda. The left hand plays octaves and the right hand plays triplets to accompany that octaves.
Throughouth the exposition part  triplets are  the most used rhytm. Sometimes the left hand has triole and the right hand has melody or vice versa and sometimes both of them have triplet.
In the 320th measure, there is a different melody but I think it is not a theme it is just a bridge that takes us to the end of the movement.
Eventually, in the 336th measure coda stars and it imitates the first movement.
In the second reprise it is modulated to A flat major.

Development
m.m 345- 354: There is a new melody but it is a little bit weird because now we are in development part . Development  part starts with A flat Major . Most of the time, the right hand plays some chords and the left hand play the melody.
m.m 355- 394: Up to the 394th measure, that new melody is represented in different shapes. 
m.m 395- 424: Between  these measures, the first part of the theme represented and again it is modulated to f minor. The left hand has triplets, the right hand has the melody.

Recapitulation
m.m 424- 431: The first theme is repeated in f minor.
m.m 432- 446: Transition part.  Variation of the first theme is presented and then,  measures 445- 446 there is af minor scale .
m.m 447- 474: The second theme is represented in f minor.
m.m 475- 481: Coda part. The left hand has some arpeggios and the right hand accompanies it with chords. At the end of the coda there is a PAC.






Free music


Prelude For Violin and Piano No 2 by Cem ERÇELİK



Piano: Benan DALKIRAN
Violin: Merve BİÇER
Coposer: Cem ERÇELİK


 

Stravinsky - Mezmurlar senfonisi Ve Neoklasisizm


Stravinsky

Mezmurlar senfonisi Ve Neoklasisizm

         Dini bir eser olan mezmurlar senfonisinin orkestrasyonu, Klarnet, keman, viyola ve genişletilmiş tahta üflemeli partları ayrı tutularak karakter kazanmıştır. Eser, beşli katlanmış pikolo ile beş flüt, dört obua, coranglais, üç fagot, kontrfagot, dört korno, pikolo trompet, dört Do trompet, üç trombon, tuba, timpani, davul, iki piyano, arp, çello, kontrbas, ve dört partili koro partilerinden oluşmaktadır.
         Stravinsky, bu eserini şöyle ifade etmiştir. "-Bu ilahileri de dahil ettiğim bir senfoni değil aksine, senfonize ettiğim bir ilahidir." (“it is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.")
         Birçok stravinsky eseri gibi, ara sıra oktatonik dizi gözlenebilir. Eser do tonal ekseninde olup, do majör ve do minör dizileri üç bölümün de iskeletini oluşturur.
          Premiyeri, Ernest Anserment yönetiminde Societe Philharmonique  de Bruxselles tarafından 13 Aralık 1930' da gerçekleştrilmiştir. Eser Neoklasik bir anlayışa sahiptir.
         Neoklasisizm,  diğer plastik sanatlarda olduğu gibi antik çağın değil, 18. yy Klasik döneminin yeniden canlandırılmasıdır ve alman modernizmine bir tepki olarak fikir edinilmiştir. Neoklasik düşünce, diğer modernist akımların aksine insanların doğuştan tonal duyguya sahip olduğunu savunur. Tarih boyunca müzisyenler geçmişin müziğinden, formları, etkileri,müzikal betikleri ödünç alıp, onlardan yeni birşey oluşturmuştur. Stravinsky de bu durumu, "iyi besteci özenmez, çalar!" ("A good composer dosen't imitate, he steals!") diyerek açıklamıştır.
         Kompozisyonel teknik olarak içeriği, tonaliteye sahip olması, geleneksel formları kullanması(dans suitleri, konçertolar, sonatlar...vb), saf müziğe sahip olması, hafif müzikal doku ile işlenmesi ve bestecilerin müzikal ifadenin bilincinde olmasıdır.
         Stravinsky de Mezmurlar Senfonisi' nde senfoni biçimini kullanmış, tonal duyguya sahip, müziğin önceliğe sahip olduğu, yeni bir neoklasik eser ortaya koymuştur.

20. yy Resim Sanatı Tarihler


1880'ler 1940'lar


    Tonalizm - 1880 - 1920     Soyut dışavurumculuk - 1945 ve sonrası
    Sembolizm - 1880 - 1900'ların başı     Aksiyon resmi
    Post-empresyonizm (Geç İzlenimcilik)     Renk alanı resmi
    Neo-empresyonizm (Yeni İzlenimcilik)     Art informel

    Art brut
1890'lar     Tachism


    Ekspresyonizm (Dışavurumculuk) 1950'ler
    Fauvism

    Neo-dada - 1950'ler
1900'ler     Pop art

    Durumculuk
    Die Brücke - 1905 - 1913
    Art nouveau - 1905 - 1939 1960'lar
    Kübizm - 1908 – 1939
    Fütürizm - 1909 - 1939     Op Art

    Geç-resimsel soyutlama
1910'lar     Sert kenar resmi

    Fluxus
    Süprematizm - 1915 - 1920'ler     Minimalizm
    Dada - 1916 - 1923     Kavramsal sanat
    Bauhaus - 1919 - 1933     Performans sanatı

    Fotogerçekçilik
1920'ler     Süreç sanatı

    Arazi sanatı
    Neue Sachlichkeit - 1920'ler - 1940'ler     Post-Minimalizm
    Konstrüktivizm - 1920'ler ve sonrası
    Art deco - 1920'ler - 1930'ler
    de Stijl - 1920'ler - 1932
    Sürrealizm - 1922 - 1939


1930'lar - II.Dünya Savaşı


    Abstraction-Création - 1931-1936
    Sosyalist realizm - 1930 - 1950

20. yy önemli olaylar


Yıl Olay Besteci
1900    
  Dünyanın ilk metrosu Paris' te hizmete girdi. Arnold Schoenberg
  İlk okyanus aşırı radyo yayını yapıldı. Anton Webern
  Pablo Picasso'nun eserleri ilk defa sergilendi. Alban Berg
  Wright Kardeşler uçağı icat etti. Serge Prokofieff
  Rus-Japon Savaşı başladı. Rus Çarlığı yenildi. Heitor  Villa-Lobos
  Albert Einstein görelilik kuramı' nı ortaya attı. Béla Bartók
  Auguste ve Louis Lumiére renkli fotografçıklığı geliştirir. Ernst Bloch
1910   Edgard Varèse
  Paslanmaz çelik ilk olarak Sheffield, İngiltere'de icat edildi. Claude Debussy
  I. Dünya Savaşı başlar. Alexander Scriabin
  İlk telefon görüşmesi yapıldı. Maurice Ravel
  Tank, ilk kez I. Dünya Savaşı'nda kullanıldı. Kaikhosru Sorabji
  Nazi partisi kuruldu. Igor Stravinsky
1920   George Gershwin
  ABD'de düzenli radyo yayınları başladı. Charles Edward Ives
  Robot sözcüğü ilk kez kullanıldı. Aaron Copland
  lk başarılı roket deneyi gerçekleştirdi. Jean Sibelius
  Sesli sinema filmi yapıldı. Erik Satie
  Alexander Fleming, penisilini buldu. Alexander von Zemlinsky
  Rusya'da büyük bir kuraklık başlar. 18 milyon kişi açlıktan ölür. Aram Ilich Khachaturian
  John Logie Baird, ilk televizyon görüntülerini iletir. Joaquin Rodrigo
  Dünya bir ekonomik krize girer. Dmitri Shostakovich
1930   Olivier Messiaen
  Matahma Gandhi, Hindistan'daki pasif direnişi başlatır. William Walton
  Plüton gezegeni keşfedilir. Benjamin Britten
  Güneş Sistemi'nin dışından gelen radyo dalgaları keşfedilir. Pierre Schaeffer
  Şeritli Manyetefon icad edilir. Iannis Xenakis
  Naylon bulunur. Milton Babbitt
  Radar icad edilir Bülent Arel
  II. Dünya Savaşı başlar. György Ligeti
1940   Luigi Nono
  II. Dünya Savaşı'nda Birleşik Krallık; Bulgaristan, Macaristan ve Romanya'ya, Amerika Birleşik Devletleri ve Hindistan ise Japonya'ya savaş ilan etti. Luciano Berio
  Alman ordusu Paris'e girer, İtalya Yunanistana saldırır. Pierre Boulez
  Japon donanması, Pearl Harbor'u bombalar Karlheinz Stockhausen
  Japonya'nın Hiroşima ve Nagasaki kentlerine atom bombası atıldı. George Crumb
  Birleşmiş Milletler Eğitim, Bilim ve Kültür Örgütü'nun yasası Londra'da 44 ülkenin katılımıyla kabul edildi John Cage
  İsrail bağımsızlığını ilan etti.  
  ABD'de ilk renkli TV yayınları başladı.  
  ABD, Manhattan projesini başlattı.  
  İlk otomatik elektronik sayısal bilgisayar icad edildi  
  Radyoaktif karbonla (karbon-14) tarihleme yöntemini geliştirildi.  
  "Sesduvarı" aşıldı.  

NATO kuruldu  
1950   Toru Takemitsu
  RCA ilk bireştireci yaptı. Krzysztof Penderecki
  Dünyada ilk bilgisayar satışa sunuldu. ladimir Ussachevsky
  Avrupa Kültür Anlaşması, Cenevre’de imzalandı  
  Sovyetler Birliği'ne ait, dünyanın ilk yapay uydusu olan Sputnik 1 uzaya fırlatıldı.  
  İlk Parkmetreler Birleşik Krallık'ta kullanılmaya başlandı  
  Uçuk mavi popüler renkti.  
  Küba'da Fulgencio Batista iktidarı, Fidel Castro ve Che Guevara önderliğinde yıkıldı.  
1960   Michael Finnissy
  Berlin Duvarı'nın yapımına başlandı. İlhan mimaroglu
  İsrail birlikleri Kudüs'ü ele geçirdiler.  
  Kalp nakli yapıldı  
  Paris Sorbonne üniversitesinde başlayan mitingle tüm Fransa'da öğrenciler ve işçiler tarafından isyanlar çıktı, meclisin feshedilmesine bile neden olan olaylar silsilesi başladı. İsyan 16 Haziran'da bastırıldı. İsyan bir sürü sivilin ve polisin ölümüne se  
  Ses hızını aşan ilk yolcu uçağı Concorde deneme uçuşunu başarıyla gerçekleştirdi.  
  Tarihte ilk kez insanlı bir uzay aracı Ay'a ulaştı. Apollo 11, 20 Temmuz 1969'da Ay yüzeyine indi. Astronot Neil Armstrong Ay'a ilk ayak basan insan oldu.  

Vitnam Savaşı başladı.  
1970    
  Rüzgar enerjisi yeniden gündeme geldi.  
  Amerikan sondası Mariner-9 Mars gezegeni çevresinde yörüngeye girdi ve yaklaşık bir yıl boyunca gezegenin yüzey haritasını çıkardı.  
  Salvador Allende, dünyada (Şili'de) seçimler yoluyla göreve getirilmiş ilk marksist lider oldu.  
  Dünya'nın 3. büyük opera binası olan İstanbul'daki Atatürk Kültür Merkezi bütünüyle yandı.  
  İlk Mikroişlemci (Intel 4004) yapıldı.  
  Elektronik posta (e-mail) geliştirildi.  
  ABD başkanı Richard Nixon görevinden istifa etti (Watergate skandalı)  
  Vitnam Savaşı bitti.  
  Monarşi İspanya'ya geri döndü; Juan Carlos İspanya kralı oldu.  
1980    
  IBM PC (Personal Computer) kişisel bilgisayarlar piyasaya sürüldü  
  MTV yayına girdi  
  Arjantin, Birleşik Krallık'a bağlı Falkland Adaları'nı işgal etmeye başladı.  
  Çernobil faciası gerçekleşti.  
  S.S.C.B. Bölündü.  
  Yugoslavya dağıldı.  
  Phjlips firması ilk kompakt diski (CD) tanıttı.  
1990   Michael Hersch
  Körfez Savaşı başladı.  
  Hubble Uzay Teleskopu uzaya gönderildi.  
  Karadeliklerin varlığına ilişkin kanıtlar bulundu .  
  İlk genetik kopyalama gerçekleştirildi.  
  Almanya yeniden birleşti.  
  WWW servisi hizmete girdi.  
  Amerika Birleşik Devletleri Başkanı Bush ve Rusya Devlet Başkanı Boris Yeltsin, ilk nükleer silah indirimi anlaşmasını imzaladılar.  
  Bosna savaşı gerçekleşti.  

Ludwig van Beethoven, Piyano Sonata No. 8 in C minor, Op. 13 (Pathétique)



Ludwig van Beethoven

Piyano Sonata No. 8 in C minor, Op. 13 (Pathétique)

            18. yüzyılın 19. yüzyıla kavuştuğu günlerde, Fransız Devrimi Avrupa' yı sarsarken genç Beethoven da müzik dünyasında yeni çağı hazırlamakla meşguldü. Kimileri için Klasik dönemi doruğa ulaştırıp Romantik döneme kimlik kazandıran,  kimileri için ise Klasik ve Romantik çağlardan farklı bir "çağ" olarak görülen bu önemli besteci; 1770 yılında  Almanya' nın Bonn kentinde doğmuş, yaşadığı tarih açısından  her iki döneme de damgasını vurmuştur.

            Beethoven hiç kimseyi mutlu etmek için eser yazmadığı gibi, bestelerini de bir gösteriş olarak değil, iç dünyasının gereksinimi olduğu için üretmiştir.  Genç Beethoven' ın Pathétique sonatı yazarken,  Mozart K. 475, Haydn Senfoni No. 103 gibi eserlerden ve Jan Ladislav Dussek' in piyano sonatlarından etkilendiğini söyleyebiliriz.

            Beethoven ın müziğinde kendilerini geliştiren motifler, tematik yapı ve melodi ile o denli  birbirine kenetlenmiştir ki tek bir motiften koca senfoniler yazılmış ve bütünlük içinde sunulmuştur. Tematik yapı, çeşitli şekillerde büyümekte ve küçülmekte; bir cümleden ayrışarak yapıtın başka bir yerinde ansızın ortaya çıkabilmektedir. Bu gelişimler sonat biçiminin karakterini ve anlatımını içerdiği gibi,  yapısal açıdan da bütünleşmeyi sağlamaktadır.

            Pathétique sonat içinde de bu gelişimleri gözleyebiliriz. Eser grave tempolu do re mib motifi ile başlar. Çıkıcı hareketlerle motif 7 kez yükselir ve 7 kez düşer.

           
            Motif, "Allergro"  bölümünde gerçek bir çıkış özgürlüğüne varır. Bu motifle, "Allegro con brio" nun ana teması "fa sol lab" motifi birbirinden kopmaz bir biçimde içiçe geçer kenetlenir.
           

            Yükseliş düşüncesi, "Grave" girişinde olduğu gibi, "Allegro-Rondo" bölümlerinde de görülmektedir.


            "Do re mib" motifi, Allegro con brio nun development bölümünün, Eb 2. temasının da içinde bulunmaktadır.

            Aynı bölümün mib re do re fa mib seslerinden oluşan ve triller ile süslenmiş olan birbaşka motif, eserin 2.Adagio cantabile bölümünün 20. ölçüsünde değişmiş bir ritm ve grupettolar ile süslenmiş olarak karşımıza çıkar. Ezgisel sesler ve notalar her iki motifte de eşittir.










            3.Rondo bölümünün ana teması ile ilk bölümün motifinin gelişmiş halidir. Rondo nun ana temasında da do re mib sıralanışını görebiliriz. 2. bölümün ana temasının yan cümlesindeki son motif ise, rondo bölümün, ana temasının, 3. motifini türetmiştir. Burda ezgiler birbirine benzerlik göstermekle birlikte ritm ve tonalite değişmektedir.


            Beethoven, eserlerinde  fikirlerini birbiri içinde bu şekilde yoğurmuş ve tümevarmasını sağlamıştır. Bu yüksek bütünlük duygusu dinleyicisine eserini yaşattırmıştır.         

            Tüm bu kompozisyon teknikleri üzerindeki dehası ve farklı iç dünyası bir araya geldiğinde, eserlerinde birbirinden farklı havaya bürünen bölümleri ve bölümlerin içindeki karşıtlıkları yaratmış, Beethoven' ı müzik dünyasında ayrı bir çağ olarak görülmesini düşündürecek kadar önemli bir yere ulaştırmıştır.

           

HERBERT SPENCER

HERBERT SPENCER


Part One : LIFE
     He was born in  Derby, England on April 27, 1820. He was the eldest child of nine children, but the only

one to survive infancy. He had weak and sickly childhood . His father and many of his

family members was teacher. However, He hadn't educated formally. George taught him

Sciences and Math, but education was weak in other areas because he thaught Spencer

from an extremist nonconformist perspective. His entire family was very nonconformist and

individualistic. He worked as civil engineer for railway but in his early 20s, turned to

journalism and political writing. He became a subeditor for The Economist. Then he

finished first book named Social statics. Upon the death of his uncle Thomas, in 1853,

Spencer received a small inheritance which allowed him to devote himself to writing

without depending on regular employment. In 1855, He wrote second book named The

Principles Of Pschology. It wasnt's succesful as much as first book. About this time he

experienced serious health problems that affected him for the rest of his life. He could

write for only few hours each day. His published works are The social Organism, First

Principles, Principles of Biology, The study of sociology, The principles of Ethics- many

volumes, The Principles of Sociology- many volumes, The Man Versus the State and

Autobiography .

Part Two : Spencer's Ideas

    The most memorable idea of the english philosopher Herbert spencer was his

assertion that the passing of time withnesses “the survival of the fittest”. He used this

words for refer to society. As a biologist, He thought that society mirrored biology. His

social darwinist idea is that if you compete among society, the most intelligent,

ambitious, and productive people will inevitably win out. He supporting this cruel

competition, thinking that as the fittest survived, society would undergo steady

improvements. Thus he think that don't help poor people because this movement drag

society down. Therefore, of course industrialists applauded spencer. Spencer's thoughts

about economy is goverments shouldn't interfere to economy. The most financial giant

Rockeffeller, often recited Spencer's “social gospel” to young children in Sunday school,

casting the growth of giant corporations as merely the naturally ordained “survival of the

fittest”. Others, contrarily stand the idea, because they aren' t in a jungle. Socaity's

worthy is much than a selfish jungle. Thus, social darwinism fell out of favour among social

scientists, though it still surfaces today as an influential element of conservative political

thought.

Part Three : The System Of Synthetic Philosophy

    Spencer was standing his generation's ideas because orthodox mentality was

weaken against modern sicence mentality. His philosophy system added fundementals to

understanding excellence of human such as such as the first law of thermodynamics and

biological evolution. In essence Spencer's philosophical vision was formed by a

combination of deism and positivism. On the one hand, he had learned something of

eighteenth century deism from his father and other members of the Derby Philosophical

Society and from books.

     He refer about this world as design of the universe and rules of nature's “Being

transcendentally kind”. Well planned nature rules by the creator, objected for providing

human hapiness.

    Beyond the accepting positivist ideas, he thought conception of a philosophical

system as compound with other branches of scientific knowledge. He followed positivism

because positivism provides only genuine knowledge without speculative ideas about

nature of reality. His system of synthetic philosophy, reflected his tension between

positivisim and deisim. Spencer followed comte for certainity of scientific knowledge. He

justified like comte that laws of nature are valid for the universe. The first objective of the

synthetic philosophy was that, all the events in the universe can be explained in natural

laws. Spencer studyed branches like biology, sociology, psychology for proving that natural

laws monitoring in different scientific disciplines. It is obvious in his writings about ethics

that, laws of ethics and laws of nature have same contents.

    The second objective of the Synthetic Philosophy was to show that these same

laws are merciless. Contary to Comte' s wholeness of scientific method, Spencer believe

that scientific knowledge is a form of natural laws and it is the reduction of evolutional

laws.

Part Four : Evolution

    Spencers's first article about his evolutional perspective named “Progress: Its Law and Cause” published in 1857 and formed to “First Principles of a New System of Philosophy”. This article included some ideas from Samuel Taylor Coleridge' s  “The Theory of Life” and  law of embryological development. He explained an evolutional theory.  Spencer thought that all tha structures in the universe develop from a simple, undifferentiated, homogeneity to a complex, differentiated, heterogeneity, while being accompanied by a process of greater integration of the differentiated parts.(Spencer evrendeki bütün oluşumların basit, değişime uğramamamış ve homojenlikten karmaşık, değişime uğramış ve heterojen bir hale, daha çok değişime uğrayan parçalarla entegre olduğu bir süreçten geçerek oluştuğunu ileri sürer) This evolutionary process could be found at all the universe. It was a universal law, applying to the stars and the galaxies as much as to biological organisms, and to human social organization as much as to the human mind.  It differed from other scientific laws because it is too general and special siences laws are an example for it's princple.
    This attempt to explain the evolution of complexity was radically different from that to be found in Darwin’s Origin of Species which was published two years later. Spencer is often, quite erroneously, believed to have only appropriated and generalized Darwin’s work on natural selection. The primary mechanism of species transformation that he recognized was Lamarckian use-inheritance which posited that organs are developed or are diminished by use or disuse and that the resulting changes may be transmitted to future generations. This evolutional mechanism is important for explaining “high evolution” especially for humanitys social devolopment. Spencer,  in contrast to Darwin, he thought that evolution had a direction and an end-point, the attainment of a final state of ”equilibrium”.

Part Five : Sociology
  
    The evolutionary progression from simple, undifferentiated homogeneity to complex, differentiated heterogeneity was exemplified, Spencer argued, by the development of society.(Evrimin; basit, farklılaşmamış homojenlikten karmaşık, farklılaşmış heterojenliğe ilerleyişi Spencer'a göre toplumun gelişimi ile açıklanmıştı.) He developed a theory of two types of society, the militant and the industrial, which corresponded to this evolutionary progression. Militant society, structured around relationships of hierarchy and obedience, was simple and undifferentiated; industrial society, based on voluntary, contractually assumed social obligations, was complex and differentiated.(boyun eğme ve hiyerarşik ilişkiler üzerine kurulu militan(saldırgan) toplum basit ve farklılaşmamış; sözleşmeye dayalı yükümlülükler ve gönüllülük üzerine kurulu endüstriyel toplumsa karmaşık ve farklılaşmıştı.) Spencer's described society as “social organism” was evolving to more complex according to universal evolutional law.  Industrial society was the direct descendant of the ideal society developed in “Social Statics”.

Part Three : Human Nature

    As a researcher, Spencer believed in evolution. Everything can be explained in

evolution. In this process, onrganisms are develop from simple to more complex level by

level as natural selection. The man who said that “the survival of the fittest” was Spencer,

not Darwin. What we are is determined by what we inherit and circumstances of our

enviroment . For Spencer, our mind and body developing paralelly and our central nervous

system and brain development was mechanisitic. Inclination between individuals in races

was reflected in the charesteristic of rational  self-interest. During the evolution period,

social life is the most important role on individualizm with rising of socialization.