Rönesans`ta ve Barok dönemde ud`lar, vihuela`lar ve gitarlar -Bağlamsal bir inceleme-

Abstract

varlığına dikkat çekilmektedir. Hristiyan dünyasında, Ortaçağda, gitarın 11. yy'dan önce söz konusu edilmediği düşünülünce, mimaride de, Bizans'ın bu yüzyıldan sonra Asya etkisine girdiği gözönünde tutulunca, enstrümanın o çağda Asya'dan Avrupa'ya olan göçlerle ilişkilendirilmesi gereği ortaya çıkmaktadır. İsa'dan sonra 1. yy'da Özbekistan'da yapılmış gitar çalan kadın kabartması enstrümanın asyalı bir kökeni olduğu savını desteklemektedir. Gitarın Avrupa'ya, Asya'dan gelen sosyo-kültürel dalgalarla olduğu kadar, Kuzey Afrika'dan da yayıldığı yolunda güçlü kanıtlar vardır. İspanya ve İtalya, Akdeniz İslam'ının Avrupa'ya açıldığı iki kapı olmuşlardır. Böylece, `gitarın Avrupa'ya en az iki yoldan girdiği` düşüncesi belirmektedir: a) Akdeniz, b) Avrasya. Avrupa'daki gitar yapımcılığında, kuzey ve güney geleneklerinin birbirlerinden uzak oluşları bu varsayımı desteklemektedir. 18. yy. sonrasında, gitar Batı dünyasının tüm sosyal parametrelerinin oluşturduğu modern bağlamda yer almağa başlamış, küreselleşen dünya içinde ise, tüm dünya halklarını etkileyen bir Batı kültürü öğesi kimliğine bürünmüştür. Araştırma, büyük ölçüde, iki temel kaynaktan yapılan çevirilere dayanmaktadır: Gustave Reese'nin Music in the Renaissance^ (1959) ile, Groves Dictionary of Music and Musicians (1980)ın ilgili maddeleri.

Abstract The Lutes, Vihuela's and Guitars in The Renaissance and The Baroque Era-- A Contextual Survey This research is an effort to learn the pre-18th century adventure of the `guitar` that has gradually become, between the 18th century and our time, one of the mega-symbols of Western culture. The guitar is first looked at in terms of its appearance and artistic identity in our era. Then, using a method of `retrograde motion in time,` the research progresses from the vihuela to the lute. In effect, just as the guitar acquired popularity in the 17th century and swept the vihuela away, the vihuela had, in turn, made the favorite instrument of Renaissance music-lovers-the lute- become marginalized in the 16th century. Mainstream history texts always start `from-the-beginning` and move chronologically `from the past to the future.` To the contrary, in Chapter I of this research, the guitar is first examined, then the vihuela and finishing with the lute, the instrument among these three whose history goes back the farthest. As the-research proceeds from the present towards the past, the amount of historical evidence decreases alongside the fading-out of the `Western` identity of the guitar. The music of the guitar, the vihuela and the lute, which is - it is understood-a gift of the Silk Road and the Spice Road to Europe, was not documented through scores or tablatures prior to the Renaissance (the quattrocento). The great and attractive repertoire of the medieval troubadours, in whose context the guitar, the vihuela and the lute occupied an important place, almost was not documented in terms of instrumental music. In Section 1.3.2 where an effort is made to define the distinguishing features of the guitar, the double incurvation of the front gains importance. The resemblance between this specific structure and that of a double-curved water gourd is carried further, to an awareness of the existence, to this day, of MiddleEastern and Asian stringed instruments made of a double-curved gourd. In medieval Christendom, mention of the guitar is never made before the 1 1th century when, in architecture, Byzantium adopted Asian concepts. It appears the guitar's sudden surge in 11th century Byzantium should be somehow connected with the westward emigration of the Asian peoples. A hypothesis claiming an Asian origin of the guitar could be supported by a 1st century A.D. relief from Uzbekistan showing a woman playing the guitar. Parallel to the theory of an Asian origin of the guitar due to socio-cultural waves, a North African origin of the instrument can also be claimed on strong evidence. Spain and Italy have acted as two gates through which Mediterranean Islam found openings to Europe. Thus, at least two itineraries for the exportation of the guitar to Europe can be specified: a) the Mediterranean, and b) the Eurasian. It is to be noted that a dichotomy existing between the traditions related to the art of guitar making in Northern Europe and Southern Europe strengthens this hypothesis. After the 18th century, the guitar started to figure among the elements of a modern context, appropriating all types of social parameters of the Western world. With the later trends towards globalization, it has become a Western product sought-after by all peoples of the world. This research is largely based on translations from two main sources: Music in the Renaissance (1959) by Gustave Reese and the related entries of Groves Dictionary of Music and Musicians (1980)