1950 öncesi Sürrealizm ve Müzik İlişkisi: Anlaşmazlıklar ve Yakınlaşmalar

Abstract

The Surrealist movement, which emerged as a revolutionary movement in poetry in 1924, quickly moved towards various other disciplines such as painting, sculpture, photography, architecture and cinema, but unlike Symbolism and Dada, the movement exhibits a conscious distance from music. However, this stance went through a change during the dissolution period of the movement in the late 1930s, and later in the exile years of artists such as Breton, Salvador Dali, Max Ernst, and André Masson in America. After 1950, the relationship between surrealism and music became more apparent. Developments in jazz music and post-modern practices have particularly been evaluated as the reflection of surrealist thought. The purpose of this study is to explore the relationship between music and surrealism by focusing on the pre-1950s period where this relation remains more unclear. The first part of the study discusses the reasons for the surrealist movement's negative attitude towards music, and furthermore gives examples from the composers who had felt close to surrealist thinking and whose music contains surrealist elements. In the final part of this study, we aim to examine the points where surrealist thinking meets with development of music on the path leading to serial and aleatoric music through the example of İlhan Usmanbaş's musical piece Three Painting from Dali (1952).