THE CONCEPT OF SIMULTANEITY IN PAINTING AND MUSIC: CEZANNE, PICASSO AND STRAVINSKY

Zeynep Abacı

Makale detayları

THE CONCEPT OF SIMULTANEITY IN PAINTING AND MUSIC: CEZANNE, PICASSO AND STRAVINSKY

Yazarlar:

Zeynep Abacı

Yayıncı:

Trakya University

Ana Başlıklar:

Müzik (Diğer) | Resim

Dergi:

Balkan Müzik ve Sanat Dergisi Vol.5 Issue 2, pp.59-75

Belge Tipi:

Makale

Yayın Tarihi:

10/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001302731

pISSN:

2667-5439

Anahtar kelimeler:

Özet:

 Einsteins Theory of Relativity, that is, the idea that time and space interact, affects painting and even music in the context of cubism. At the beginning of the 20th century, a turning point is experienced in painting and music beyond the concepts of figurative and tonality, and artists begin to construct a new language of expression. At this turning point, Cezanne, Picasso and Stravinsky appear as artists who play an important role with the similar solutions and practices they use. In line with Einsteins Theory of Relativity, while the relations and connections in the universe come to the fore, the simultaneity of the point of view is emphasized. It can be said that the reflection of Einsteins physics in the art of painting, by adding a new approach to the view, finds its response in the form of deformation and fragmentation. Similarly, musical simultaneity attains a spatiality that combines the musical figure-ground relationship thanks to the repetitive multi-part texture and repetition. These creation processes, depending on the concept of synchronicity, are discussed in the article in the context of Cezanne, Picasso and Stravinsky.

 Einsteins Theory of Relativity, that is, the idea that time and space interact, affects painting and even music in the context of cubism. At the beginning of the 20th century, a turning point is experienced in painting and music beyond the concepts of figurative and tonality, and artists begin to construct a new language of expression. At this turning point, Cezanne, Picasso and Stravinsky appear as artists who play an important role with the similar solutions and practices they use. In line with Einsteins Theory of Relativity, while the relations and connections in the universe come to the fore, the simultaneity of the point of view is emphasized. It can be said that the reflection of Einsteins physics in the art of painting, by adding a new approach to the view, finds its response in the form of deformation and fragmentation. Similarly, musical simultaneity attains a spatiality that combines the musical figure-ground relationship thanks to the repetitive multi-part texture and repetition. These creation processes, depending on the concept of synchronicity, are discussed in the article in the context of Cezanne, Picasso and Stravinsky.

 Einsteins Theory of Relativity, that is, the idea that time and space interact, affects painting and even music in the context of cubism. At the beginning of the 20th century, a turning point is experienced in painting and music beyond the concepts of figurative and tonality, and artists begin to construct a new language of expression. At this turning point, Cezanne, Picasso and Stravinsky appear as artists who play an important role with the similar solutions and practices they use. In line with Einsteins Theory of Relativity, while the relations and connections in the universe come to the fore, the simultaneity of the point of view is emphasized. It can be said that the reflection of Einsteins physics in the art of painting, by adding a new approach to the view, finds its response in the form of deformation and fragmentation. Similarly, musical simultaneity attains a spatiality that combines the musical figure-ground relationship thanks to the repetitive multi-part texture and repetition. These creation processes, depending on the concept of synchronicity, are discussed in the article in the context of Cezanne, Picasso and Stravinsky.

 Einsteinın Görelilik Kuramı yani zaman ve mekânın etkileşim içinde olduğu fikri, kübizm bağlamında resim sanatını ve hatta müziği bile etkiler. 20. yüzyılın başında resim sanatı ve müzikte, figüratif ve tonallik kavramlarının ötesinde bir dönüm noktası yaşanır ve sanatçılar yeni bir anlatım dili inşa etmeye başlarlar. Bu dönüm noktasında Cezanne, Picasso ve Stravinsky kullandıkları benzer çözüm ve pratiklerle önemli rol oynayan sanatçılar olarak karşımıza çıkar. Einsteinın Görelilik Kuramı doğrultusunda, evrendeki ilişkiler ve bağlantılar ön plana çıkarken görüşün eşzamanlılığı üzerinde durulur. Einstein fiziğinin resim sanatındaki yansımasının, bakışa yeni bir yaklaşım katarak deformasyon ve fragmantasyon şeklinde karşılık bulduğu söylenebilir. Benzer şekilde müzikal eşzamanlılık, yinelenen çok parçalı doku ve tekrar sayesinde müzikal şekil- zemin ilişkisini birleştiren bir mekânsallığa kavuşur. Eşzamanlılık kavramına bağlı bu yaratım süreçleri makale kapsamında Cezanne, Picasso ve Stravinsky özelinde tartışılmıştır.

Makale detayları

THE CONCEPT OF SIMULTANEITY IN PAINTING AND MUSIC: CEZANNE, PICASSO AND STRAVINSKY

Yazarlar:

Zeynep Abacı

Yayıncı:

Trakya University

Ana Başlıklar:

Müzik (Diğer) | Resim

Dergi:

Balkan Müzik ve Sanat Dergisi Vol.5 Issue 2, pp.59-75

Belge Tipi:

Makale

Yayın Tarihi:

10/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001302731

pISSN:

2667-5439

Simultaneity

Cubism

Painting

Music

Cezanne

Picasso

StravinskyEşzamanlılık

Kübizm

Resim

Müzik

Cezanne

Picasso

Stravinsky

Sayı

Makale detayları

Yazarlar: Zeynep Abacı

Yayıncı: Trakya University

Ana Başlıklar: Müzik (Diğer) | Resim

Dergi: Balkan Müzik ve Sanat Dergisi Vol.5 Issue 2, pp.59-75

Belge Tipi: Makale

Yayın Tarihi: 10/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001302731

pISSN: 2667-5439

Sayı

Yazarlar:

Zeynep Abacı

Yayıncı:

Trakya University

Ana Başlıklar:

Müzik (Diğer) | Resim

Dergi:

Balkan Müzik ve Sanat Dergisi Vol.5 Issue 2, pp.59-75

Belge Tipi:

Makale

Yayın Tarihi:

10/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001302731

pISSN:

2667-5439