Music Graduate Program
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ÖgeThe 19th-century Instrumental Ballade As A Musical Form And Genre Through An Analysis Of Chopin's Four Ballades(Institute of Social Sciences, 2019) Şenergin, Barışcan ; Aji, Jerfi ; 569563 ; Music ; MüzikThe history of the Ballade goes a very long way back. Ballade is fundamentally one of the formes fixes (fixed forms) in 13th to 15th century medieval music. All ballade pieces until the 19th century were vocal pieces. However, in 19th century, Chopin has pioneered a new genre with the same name, but without words. He has given four pieces in this genre. In my thesis, I have analyzed all of them in detail together with some other pieces. Consequently, I have drawn inferences from these analyses and provided a concrete definition of the specific sound of a Chopin Ballade.
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ÖgeAnalysis Of Robert Schumann’s Op. 2 Papillons Through A Performing Practice Approach(Institute of Social Sciences, 2017) Mehmetli, Engin ; Aji, Jerfi ; Music ; MüzikRobert Schumann, the son of a book dealer, had deep connections with literature and poetry. He was deeply fond of E. T. A. Hoffmann (1776 - 1822) and Jean Paul Richter (1763 - 1825). His source of inspiration was literature. He reflected his ideas via music, especially on the piano. He composed multiple piano cycles such as Papillons, Carnaval, Kreisleriana. Schumann’s double characters are reflected in his compositions as Florestan and Eusebius. These two contrasting characters are a model for a vivid, extroverted character and an introverted, dreamy character. The purpose of the thesis is to demonstrate how Robert Schumann's Op. 2 Papillons interpretations change from the beginning of the twentieth century until the end of the century. The first chapter gives detailed information about composer’s biography, general view of the nineteenth-century piano music, Papillons and Jean Paul’s novel Flegeljahre, piano cycle as a form, and a short comparison with piano cycle Carnaval. German Romanticism, The Biedermeier movement, and Hausmusik are within the scope of this chapter. Different movements and views spread out after the Napoleonic Wars in Central Europe. In the second chapter, I tried to give detailed information about performing practice of the early nineteenth-century piano music. A different view of interpretations and performances are discussed according to various theorists. In the eighteenth century, composers did not put any tempo or dynamic marking on the score. A performer of this era was expected to know the style of the piece and necessary ornaments. However, in the nineteenth century, composers started to put necessary tempo or dynamic indications on the score. With the advent of technology and industrialization, the piano became an every-day activity, a tool of education. The third Chapter gives a detailed analysis of form, structure, recommendations for correct interpretation and analysis of pianists’ performances. I chose Claudio Arrau, Vladimir Sofronitsky, Wilhelm Kempff, Alfred Cortot, Jörg Demus, Sviatoslav Richter, Murray Perahia and Samson François among famous twentieth-century pianists in my analysis. Fınally, in the conclusion part, I gave three charts showing different metronome markings of the twentieth-century pianists’ performances.
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ÖgeChanging Ways Of Self-expression: The Legacy Of Romanticism In Twentieth-century American Art Music(Institute of Social Sciences, 2019) Özer, Erkin Can ; Aji, Jerfi ; 617818 ; Music ; MüzikRomanticism, from the nineteenth century onwards, dominated the artistic perception, mindset of creativity and even the ways of appreciation towards artworks by the public. It can mean so many things that it does not mean anything to many people, as its definition is considered to be highly problematic. Roughly, Romanticism represents the values of emotional expression, love of nature, individualism, nostalgia and many other aspects of interest. Coming to life in literature and painting, Romanticism passed through music limitlessly manifesting itself. Romantic Music not only directed the whole musical trend of the nineteenth century, it also played a leading role in the genesis of contemporary approaches like Serialism, Modernism and Minimalism. In this thesis, the elements which identify Romanticism will be examined, and the place that it occupied in the center of twentieth century will be studied with its causes
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ÖgeDebussy As A Proto-spectralist(Institute of Social Sciences, 2019) Özcan, Ozan Hasan ; Aji, Jerfi ; 600894 ; Music ; MüzikAccording to some researchers, the roots of spectralist thinking can be extended to as far as early romantic era. Spectralist ideas can be observed especially in music of Liszt, Debussy and Scriabin so that these composers are even occasionally regarded as "proto-spectralist". The temporal time approach, fondness of timbre and overtone handling of Debussy can be counted as his spectralist thinking in his music as well as his approach to the performance and impact of the performance venue.
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ÖgeJazz Vibraphone In Turkey: A Pedagogical Approach(Institute of Social Sciences, 2017) Garagon, Ayberk ; Aji, Jerfi ; Music ; MüzikThe purpose of this thesis is to find out the ways how autodidact jazz vibraphonists learn their art. As part of the classical orchestra and jazz band, vibraphone is a relatively new instrument. It was developed in the U.S. in the early 20th century. The progress of jazz music and vibraphone continued parallel to each other. All of the early jazz vibraphonists were self-taught or had started their careers by playing another instrument. Today, there are not many vibraphone players and teachers outside the United States and Europe. Furthermore, the number of jazz vibraphone players in Turkey is much less than that. This leads to anyone who wants to learn this instrument to learn by themselves. However, learning an instrument alone is a hard task for most people. It is predictable that there are mainly two difficulties lying ahead for the self-taught jazz vibraphonists to overcome. First is to learn jazz harmony and jazz idioms, and the second is to learn the techniques of the vibraphone. Various educational materials can be found on these issues. I believe the most reliable source of information are method books that are written by specialists. Most of the written methods about jazz vibraphone and vibraphone techniques are recent, having been written in the past fifty years. To that end, I examined different types of jazz vibraphone methods. Also, with the development of the internet and the technology, new educational materials like apps and websites have emerged. I intend to provide a retrospective review of pedagogical materials for the vibraphone in this study. A substantial section of this thesis consists of interviews which were made by the author with Can Tutuğ and Alp Özdayı, two prominent jazz vibraphonists living in Turkey. Both of the interviewees are self-taught on jazz vibraphone. I intend to give a broad understanding of self-taught learning derived from their experience. In the light of the information gathered from the jazz vibraphone educational materials and interviews that have been conducted, it is seen that, even if jazz vibraphone methods are still valuable sources for self-taught musicians, new technologies became an integral part of their learning. However, the most important way of learning is a combination of listening, transcribing and studying jazz harmony.
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ÖgeMusic Of Speech: Transferring Spoken Dialogue To Music(Institute of Social Sciences, 2018) Cengiz, Esen Haydar ; Aji, Jerfi ; 531060 ; Music ; MüzikThis master's thesis focuses on oral conversation. Music of Speech aims to discuss emotional and interactive aspects of oral interchange through musical terminology, based on the suggestions that speaking is the most frequently used improvisational instrument among humans and each dialogue is a formed-piece in which introduction, development, and conclusion are executed, based on selected topic(s). I suggest that analyzing dialogues in such way could be useful for composers, theorists and musicians in order to bring new perspectives to their musical ideas. The main part of the project is based on a sound recording experiment. In this experiment, I perform a casual conversation with Neslihan Aker, a professional actress. This conversation is recorded with a single microphone. The analyzed part is selected from a whole conversation, which is over 50 minutes. Selected dialogue is transcribed into musical notation and observed not only through theoretical and rhythmic perspectives, but also in terms of compositional qualities.
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ÖgeUse Of Spectrogram Analysis As A Tool To Identify Formal Elements In Selected Works From Before And After The Common Practice Period(Institute of Social Sciences, 2019) Kıran, Deniz ; Aji, Jerfi ; 617914 ; Music ; MüzikAlthough musical analysis is conventionally score and listening based, we can now think of new ways to make analyses. This study is based on the assumption that spectrogram could be used to see formal designs of compositions. Such a use of technology is rare in that it is generally used not to analyse but to produce music. Because form must be thought together with many elements of music such as harmony, rhythm, tempo, themes, motives, dynamics etc. it could be claimed that spectrogram analyses could provide us with hints regarding the formal designs. In the introduction, the concept will thoroughly be explained along with methods and other analytical tools that would accompany the main analysis method. Therefore, introduction and methodology will be handled together. There will also be philosophical approaches to the concept of form and recent considerations regarding the contemporary music forms.