LEE- Müzik-Yüksek Lisans

Bu koleksiyon için kalıcı URI

http://hdl.handle.net/11527/19407

Gözat

Yazar "Ekmektsoglou, Manolis" ile LEE- Müzik-Yüksek Lisans'a göz atma
  • Öge
    Sensory dissonance curves with ADSR envelope & partial type analysis as an additive synthesis strategy
    (Graduate School, 2023-01-16) Altaylar, Kerem Eren ; Ekmektsoglou, Manolis ; 409191115 ; Music
    This research focuses on the concept of sensory dissonance and its relation to the complex nature of tone and timbre systems. It can be described as the amount of harmonic beating occurring between two tones which corresponds to the fluctuation in the perception of their amplitude. Two research questions are set to investigate this concept. The first one is whether the envelope components of a partial, which are also known as ADSR parameters, affect the sensory dissonance calculation of that timbre which consists of the sine wave partials or not. Previous studies used pure amplitude values of partials for calculation and focused on theoretical aspects of sensory dissonance. The aim of adding envelope information and testing it is an attempt to extend the concept of sensory dissonance to more practical usage. The second question is, does the type of a harmonic partial affect the total sensory dissonance? In this research, there are virtual tests which were held to find possible answers to these questions. In the introduction section, the scope of computational analysis of sound and music is investigated through its components and methods. In addition to that, the concept of sensory dissonance is described with its mechanisms and is contextually connected to the research questions in terms of structure. The second section shows the test designs regarding the concepts in the introduction section. The first test includes timbre data generation consisting of sine waves, calculation of the weight for those timbres, and their effects on the amplitude weights of the partials. The second test includes the different types of harmonic partials and their effects on the sensory dissonance curves as well as the attempts to replace the integer frequency ratios of harmonic partials with inharmonic partial ratios consisting of different tone systems. Section 3 contains the results of two tests and Section 4 has the remarks on the tests.
  • Öge
    The harmonic language of Tiny Kahn
    (Graduate School, 2022-06-26) Fratina, Daniel Rocco ; Ekmektsoglou, Manolis ; 409191118 ; Music
    This thesis explores the career of jazz composer Norman "Tiny" Kahn (1924-1953) and analyzes and historicizes his developing harmonic vocabulary and stylistic contributions from 1946 to 1951. Today, Kahn is best known as a pivotal figure in the development of bebop drumming, but despite receiving high praise for his writing from his colleagues during his lifetime, his work as a composer has received scant coverage today. This paper seeks to situate Kahn in a higher position of historical value as a composer, making the case that he made substantial contributions to jazz networks of the late 1940s, with the goals of increasing visibility of this oft overlooked musician and adding valuable analytical data to the overall jazz community's pool of knowledge. The body of this paper focuses primarily on Kahn's harmonic language—its historical relationship to the mainstream, the ways in which it deviated over time, and the social connections that helped authenticate these developments within the bebop community. Analysis of a selection of blues compositions revealed a variety of methods Kahn used to push functional harmony to new limits, some of which would later become standardized within jazz compositional networks. Research has also unearthed direct links between Kahn and Miles Davis's famous genre-defining Birth of the Cool band, and comparative score analysis has uncovered many compositional techniques—first pioneered by various Cool writers—located within Kahn's 1949 arrangement of "Over the Rainbow" for Charlie Barnet's band. The data points to Kahn—an outsider to the Cool project—immediately adapting to the new harmonic and formal frameworks propagated by the Cool writers. Harmonic analysis is based on chord scale theory, the dominant analytical framework of jazz theory for the past half century. As a self-taught composer whose work is almost entirely out of print, an investigation into Kahn's music also required extensive aural transcription by the author of this paper. Using the author's fifteen years of experience as a full-time professional big band and orchestra transcriptionist, the paper will collate authentic recreations of many of Kahn's (and his peers) out-of-print scores for comparative harmonic analysis to place Kahn as a significant supporting composer in the first decade of bebop and one of the first to successfully synthesize classic big band writing with the modernizing efforts of the Birth of the Cool project.