LEE- Müzik Lisansüstü Programı
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Yazar "Öztürk Özgen, Yelda" ile LEE- Müzik Lisansüstü Programı'a göz atma
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ÖgeA practice-based research on musical improvisation: Collaborative improvisation as a play(Graduate School, 2022-07-08) Hatipoğlu, Zeynep Ayşe ; Öztürk Özgen, Yelda ; 409162007 ; MusicThis study seeks to connect play and collective improvisation, and propose play as a creative tool for improvisation to contribute to the field. The thesis offers newly designed improvisatory collaborative plays and provides a methodology to create improvisatory plays, workshop techniques, and a tool-box for collective practices. For the purpose of this thesis, several plays that focus on different sensorial effects were developed, applied and documented. Emotion Play, collaborated with an industrial designer, Gülen Mine Demiralp, aimed to increase emotional awareness and practice it with tactile, auditory and visual components. In Re-Thinking Objects, collaborated with play expert and futurist Yeşim Kunter, transforming everyday objects into sound sources were used to create improvisation. The Listen Before Play focuses mainly on the importance of supporting the listening acts during improvisation. As many extensive listening exercises focus on, this play is an attempt to focus on listening to the sound which the performer produces, as well as listening to the collaborators. In Graphic Notation, group members' creative interpretation processes aimed to be increased and the practice offers visual and auditory projection. For the workshop, a specific type of notation was offered to observe different interpretations of a single script. The play Maintain Balance focuses on body movements, and by making body movements active within a group dynamic, it aims to investigate an embodied practice, which was developed in collaboration with martial arts expert Çağlayan Ceylan. The last two plays, namely Voicing A Letter and Upside-Down, experiment with the idea of exploring new approaches and performance techniques. These two plays aimed to increase awareness of the members by using their own voices, and by rethinking and experimenting with their instruments, it aimed to explore new performance capabilities. Musical analysis of the improvisation sessions are left outside the scope of this work as the main focus is on developing group dynamics and improving improvisation. To investigate the musical and intellectual preferences of selected Turkish improvising musicians, oral interviews were conducted and transcribed in the appendix section that contains various insights and personal views on improvisation and the concept of play. Finally, a set of play instructions as a toolbox has been provided to would present guidance and help in creative works and education scenarios have been proposed as the main outcome of the work.
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ÖgeThe Black Sea fiddle: A case study about Trabzon and Thessaloniki(Graduate School, 2023-05-23) Şentürk, Onur ; Öztürk Özgen, Yelda ; Reigle, Robert F. ; 409112004 ; MusicThe kemençe (Black Sea fiddle or Pontic lyra) is a bottle-shaped bowed string instrument from Turkey's Black Sea region. It has an original playing style and repertoire that differentiates it from other bowed instruments. It is one of the most important musical instruments of the Black Sea music tradition. Today, the kemençe is performed not only in the Black Sea region of Turkey but also in Greece, where the Pontic Greeks immigrated from the Black Sea region of Turkey at the beginning of the 20th century. In addition, the kemençe remains the most significant and symbolic musical instrument for both Greek (Pontic people) and Turkish (Black Sea people) communities. When the playing styles of these two groups are considered, it is possible to observe both similarities and differences. While similarities stem from the common origins shared by the two communities, the reasons for differences can be traced back to changes in the cultural environment of the community, i.e., Pontic Greeks, through immigration and population exchanges. In the last fifteen to twenty years, Black Sea traditional music gained great popularity, reaching a wider audience and increasing the number of people wanting to engage in Black Sea music. Due to this fact, today, there are many kemençe performers among the younger generations compared to the past. Consequently, with the increase in the usage of the internet and cable system networks of mass communication, the cultural bonds between the Black Sea communities of Turkish and Greek heritage had the opportunity to interact with each other. Specifically, this valuable cultural interaction increased between the young generation of kemençe players of both communities. For instance, among the Turkish kemençe players, the different kemençe playing styles found in Greece today has recently become popular, being defined by Turkish kemençe players as Greek style – Rum tavrı. In this dissertation, I aim to analyze the traditional performance of kemençe based on the data gathered from the field research I conducted in Greece and Turkey between 2016-2020. It also discusses the playing techniques, repertory, and evolution of kemençe performance practice through the question, "What is the Greek style- Rum tavrı?". The thesis begins with an introductory chapter outlining the needs for such a study, the objective of the thesis, literature review, and the methodology. Additionally, the first chapter introduces the historical background, construction, and basic playing principles of the kemençe. The second chapter focuses mainly on performance practices of the kemençe and its development with the Pontic community in Greece. Firstly, I provide brief information about the first generation of kemençe players who are this musical culture's bearers. Secondly, I define five distinctive kemençe playing styles and regional aspects through playing techniques and repertory analysis. Then, I mention Gogos Petridis and his impact that caused a dramatic change in kemençe playing practice. The third chapter mainly draws on the kemençe playing practices in Turkey using a similar approach. I provide brief information on significant kemençe performers, who are the bearers of the kemençe music culture and I define five different regions according to stylistic differences, relying on analysis of playing techniques and repertory. The fifth chapter and concluding chapter, summarizes the findings and outcomes concerning the similarities and differences between the playing styles of the two communities, and identifies the avenues for further research. Finally, it answers the question "What is the Greek style- Rum tavrı?" in the light of the data and observations obtained from the research.
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ÖgeThe value of small live music venues in the music ecosystem: The situation in Istanbul, Turkey(Graduate School, 2022-06-23) Atay, Ceyda ; Öztürk Özgen, Yelda ; 409181004 ; MusicThe COVID-19 process, which has deeply affected the live music industry worldwide, was notable because the inequalities and problems in the live music industry became more evident. The most affected by the restrictions during this process was the communities (musicians, audience, operators, and personnel) of small live music venues. This study considers the live music industry as an ecosystem, and in recognising that small live music venues, due to their their vulnerability, and their value, are a vital tool for sustainable development within the industry. This research aims to find out how the values (cultural/ social and economic) are co-created in small live music venues and what factors impact this process in Turkey. Therefore, it was necessary to determine what these places mean for their communities and identify their problems. To achieve this objective, written interviews consisting of open-ended questions were conducted and supported by in-depth interviews, and field observations. The sample of this research mainly consists of the Istanbul alternative music scene, but the views of people with very different backgrounds were also evaluated. The qualitative data obtained from the interviews are reported by using the methodology of applied thematic analysis. According to the categorized reasons for the preference for small live music venues, the music and feeling like "home" are the most significant factors in these places. The results show that the atmosphere and the interaction are essential for the experience of live music. In the categories of the problems related to Turkey's live music industry, injustice is the most complained situation which is followed by economic and administrative problems. It is understood that life in small live music venues, and musicians are underestimated by the decision makers in Turkey. The findings of this research will help cultural entrepreneurs develop strategies to evaluate small live music venues and provide an outlook for what kind of policy should be followed so that these venues can generate more value. This research is also expected to guide future studies in various fields on live music venues and the live music industry in Turkey.