GÖRSEL TASARIM VE İLETİŞİM BAĞLAMINDA 1950 SONRASI ORTAYA ÇIKAN DENEYSEL NOTALAMA YÖNTEMLERİ

Geleneksel Batı notalama sistemi, sesin kodlanmış genelgeçer görsel iletişim dili olmakla birlikte, müzik sanatındaki dönüşümler ve ses olanaklarının gelişmesi ile birlikte görsel algı yönünden karmaşa sergilemeye başlamış ve 1950 sonrası kuşağının bestecileri/sanatçıları “grafik notalama” olarak adlandırılan deneysel görsel diller geliştirmişlerdir. Dönemin sanat akımları içerisinde ortaya çıkan “belirlenmemişlik” kavramına cevap verebilen bu anlayışta besteci, aynı zamanda görsel tasarımcı konumundadır. Grafik notalama, müzik için yapılmış bir yol haritasına benzetilebilir ve müziğin kesin bir yönergesini sunmaktan çok nasıl seslendirilmesi gerektiğine dair bir görsel izlenim sunar. Doğası gereği görsel iletişim bağlamında değerlendirilen grafik notalamada algı ve somutlaştırma süreci, görsel kanallar, Gestalt ilkeleri, sezgi ve edinilmiş deneyimler sonucu gerçekleşmekte ve görsel yapılar açısından, kendi içerisinde sanatsal özgünlük taşıyan Zaman/Perde Notalaması, Hücre Notalaması ve Soyut Notalama olarak üç ana gruba ayrıldığı görülmektedir. Grafik Notalama, geleneksel müzik yazısına alternatif sunmak yerine disiplinlerarası yapısı ile taşıdığı iletişimsel, görsel ve plastik değerler ışığında, görsel tasarım çerçevesinde deneysel, özgün bir anlayış olarak değerlendirilebilir.

EXPERIMENTAL NOTATION METHODS APPEARED AFTER 1950 IN THE CONTEXT OF VISUAL DESIGN AND COMMUNICATION

While the traditional Western notation system is a coded common visual communication language of sound, with the transformations in the art of music and the development of sound possibilities, it began to exhibit confusion in terms of visual perception, and composers/artists of the 1950 generation developed experimental visual languages called “graphic notation”. In this sense, the composer is also become a visual designer, able to respond to the concept of “indetermination” that emerged in the art movements of the period. Graphic notation can be likened to a roadmap made for music, offering a visual impression of how the music should be sounded rather than offering a precise instruction. In the graphic notation, which is evaluated in the context of visual communication by its nature, the process of perception and concretization takes place as a result of visual channels, Gestalt principles, intuition and acquired experiences, and in terms of visual structures, it is seen that it is divided into three main groups, namely Time/Pitch Notation, Cell Notation, and Abstract Notation. Graphic notation can be considered as an experimental and original understanding within the framework of visual design in the light of the communicative, visual and plastic values that carries with its interdisciplinary structure, rather than providing an alternative to traditional music writing.

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