SOKAĞIN SESİ SAHNEDE; PARADE BALESİNDE ERİK SATIE’NİN MÜZİK ANLAYIŞI
THE SOUND OF THE STREET IS ON THE STAGE; ERIK SATIE’S MUSIC IN PARADE BALLET

Summary/Abstract: Erik Satie has a unique place in the early 20th century regarding the new art events of Paris. His works with important names such as Cocteau, Picasso, Max Jakop and Picabia in the avantgarde art scene reveal his organic connection with the important art movements of the period. Parade ballet is one of the stage works which represents the avandgard tendencies of that era. Satie’s different attitude from the very beginning which is independent of the European music tradition, reconsidered by pioneer composers of such as John Cage and Morton Feldman after 1950’s. He appears as one of the earliest figures in the music history with his radical views towards to European music tradition in the history of music. Parade ballet (1917) is Erik Satie's extraordinary production where the new approaches in his musical language meet with different disciplines. The massive destruction caused by the First World War had profound effects on all fields of art. During this period of time, art of cinema as new discipline is among the most important medium in terms of sharpening new searches and questioning the borders and limits in the arts. In this article, the music and sound material of Parade will be discussed in terms of the relationship between different art movements of the specific period. Satie's understanding of music will be investigated within this framework by developing a comparative view with academic studies which are focusing and questioning the multi-layered art language used in Parade.

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