Reading notation with Gestalt perception principles: Gestalt algı ilkeleri ile notasyon okuma

Seda Eden Ünlü; Ahmet Serkan Ece

doi:10.14687/jhs.v16i4.5822

Authors

Seda Eden Ünlü Abant Izzet Baysal University https://orcid.org/0000-0002-3947-7442
Ahmet Serkan Ece Bolu Abant Izzet Baysal University https://orcid.org/0000-0002-1369-5812

DOI:

https://doi.org/10.14687/jhs.v16i4.5822

Keywords:

Gestalt, musical reading, Gestalt perception principles, sight-reading, transcription, müziksel okuma, Gestalt algı ilkeleri, notasyon okuma, deşifre

Abstract

Based on the idea that Gestalt psychology is ‘more than all the components that make up it’, the emphasis is on the similarities of the brain's functioning during perception, as in reading text. Just as the brain perceives similar letters as holistic rather than one by one, it can be predicted that this happens during the musician's reading score.

Parallel to Gestalt auditory perception research, musicians are thought to benefit from Gestalt perception principles, without consciousness, in the first reading (sight-reading) of notes and later in practice. However, conscious perception of these principles by musicians may be considered to contribute positively during and after their sight-reading.

The aim of this study is to explain various Gestalt perception principles which are supposed to be related to music and to reveal examples of these principles on notation reading. The data obtained from the qualitative research methods through literature review were explained with six basic laws, “Figure–Ground”, “Proximity”, “Similarity”, “Symmetry”, “Simplicity” and “Continuity”. In the creation of the samples, the principles of visual perception and the motif, sentence period structures and analyzes, tonic - dominant sentence expressions, tempo and nuance terms that are also included in the auditory perception in music have been related, and it has been attached importance to its concretization with visual perception.

Extended English summary is in the end of Full Text PDF (TURKISH) file.

Özet

Gestalt psikolojinin, ‘bütün, kendisini oluşturan parçaların bir araya gelmesinden daha fazlasıdır’ düşüncesi ile yola çıkarak, tıpkı metin okumada olduğu gibi, nota okumada da beynin algılama esnasındaki işleyişlerinin benzerliklerine vurgu yapılmaktadır. Nasıl ki, beyin birbirine benzer harfleri tek tek okumak yerine bütüncül olarak algılamaktaysa, söz konusu bu durumun müzisyenlerin nota okuma sırasında da gerçekleşmekte olduğu öngörülebilir.

Gestalt işitsel algı araştırmalarına paralel olarak, müzisyenlerin nota ilk okuma (deşifre) ve daha sonraki pratiklerinde, Gestalt algı ilkelerinden, bilincinde olmaksızın, faydalandıkları düşünülmektedir. Bununla birlikte müzisyenler tarafından bu ilkelerin bilinçli olarak algılanması, onların deşifre yapmaları sırasında ve sonraki performanslarında, olumlu yönde katkı sağlayabileceği düşünülebilir.

Bu araştırma, müzik ile ilişkili olabileceği varsayılan çeşitli Gestalt algı ilkelerini açıklayarak, bu ilkelerin notasyon okuma üzerindeki örneklerini ortaya koyma amacını taşımaktadır. Nitel araştırma yöntemlerinden literatür taraması yoluyla elde edilen veriler Gestalt algı ilkelerinden “Şekil–Zemin”, “Yakınlık”, “Benzerlik”, “Simetri” “Basitlik” ve “Süreklilik” olmak üzere altı temel yasa ile açıklanmış, notasyon üzerinde örneklendirilmiştir. Örneklerin oluşturulmasında, görsel algı ilkeleri ile müzikteki işitsel algıda da yer alan motif, cümle dönem yapıları ve analizleri, tonik – dominant cümle ifadeleri, tempo ve nüans terimleri ilişkilendirilmiş, görsel algı ile somutlaştırılmasına önem verilmiştir.

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Author Biographies

Seda Eden Ünlü, Abant Izzet Baysal University

Rsch. Asst, Bolu Abant Izzet Baysal University, Department of Fine Art Education

Ahmet Serkan Ece, Bolu Abant Izzet Baysal University

He was born in Adana in 1973. He went to primary school, secondary school and high school in Adana. In 1995, he completed his BA with honor degree at the Department of Music Education, Faculty of Education, Inönü University where he also took place in the department’s orchestra and choir. After he had worked at various state schools of Ministry of National Education for two years, he entered the MA program at Abant Izzet Baysal University and he completed his MA in 1998 with his thesis entitled “The Study of Structural Change in Viola from the Middle Ages to Baroque Period”.

He completed his PhD at the Department of Music Education, Gazi University with his dissertation entitled “The Viola Works of the Contemporary Turkish Composers and a Study on the Use of These Works by the Viola Teachers Working at Vocational Music Education Institutions” under the supervision of Prof. Dr. Ali SEVGI and Prof. Dr. Koral ÇALGAN.

He worked as a member of choir in Turkey Polyphonic Choir Association between the years 2000 and 2002, as an orchestra member in Gazi Academic Orchestra between the years 1998 and 2002 and in Izzet Baysal Chamber Orchestra, Abant Stringed Instruments Quartet and Abant Ensemble between the years 2003 and 2005; and as an orchestra conductor in many national and international concerts and festivals with “Izzet Baysal Youth Orchestra” that he founded in 2005.

In addition to his art works, Ahmet Serkan Ece, who also teaches courses at graduate level, has proceedings, articles and studies on Contemporary Turkish Composers, Music Special Ability Exams and Viola Education and he is currently working on the relationship of music with different disciplines.

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