LEE- Müzik Lisansüstü Programı
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Yazar "Altınbüken, Eray" ile LEE- Müzik Lisansüstü Programı'a göz atma
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ÖgeThe relationship between texture and tension in early French spectral music(Graduate School, 2022-06-21) Barış, Deniz Can ; Altınbüken, Eray ; 409191103 ; MusicThe aim of this thesis is to shed light on the relationship between texture and tension in early French spectral music and to make conclusions about the changes in texture that occur during the tension-increasing and tension-resolving processes. The analyses include excerpts from Gérard Grisey and Tristan Murail's early pieces, both of whom are well-known composers and pioneers of French spectral music. The excerpts chosen were determined by taking into account the diversity of texture and tension curves. Along with the early period, an excerpt from second-generation composer Philippe Hurel's music is analyzed. Combined with the composer's approaches, the findings of research projects, approaches to texture and tension, the classifications for the texture of the music, and some parameters impacting the tension process serve as the primary sources of analysis. The thesis's main flow includes a brief history of French spectral music, texture definitions and comparisons, common texture types, some textural developments that occurred in the first half of the twentieth century prior to the French spectral music period, the timbral approach and its use in texture, definitions of musical tension and resolution, parametric and cognitive studies applied to these concepts, and analyses applied to clarify the relationship between texture and tension based on a parametric method. The introduction, the study's purpose, and a brief history of French spectral music are included in Chapter 1. The period's approach, the process of formation, influences, composers and their compositional attitudes, and the employed composition techniques are discussed. In Chapter 2, the texture is defined in line with the different approaches and definitions in the literature. Monophony, homophony, polyphony, and heterophony are defined under the title of common texture types and exemplified under this topic. Under the next subheading, some important developments and innovations in the texture of music and its components -in the first half of the 20th century, that is from the early 1900s to the first years of the French spectral music period- are discussed and exemplified. In the last part of Chapter 2, timbre, which has an important place in French spectral music is defined in line with different approaches, and its use in texture prior to the period is briefly discussed. In Chapter 3, texture in French spectral music, its form as a result of the use of instrumental and orchestral synthesis techniques, static sound masses, micropolyphony, and the shapes of texture created by layering these forms are demonstrated with the excerpts from the music by the composers of the period. The primary source and approach utilized in this chapter is the categorization made by Kari E. Besharse on the texture of French spectral music. In Chapter 4, concepts of tension and release in literature are defined and discussed in line with cognitive and parametric studies and approaches. In addition to associating parameters such as tonal harmony and melody, the concepts of consonance and dissonance, pitch movements, dynamics, tempo, rhythm, range in Western art music, and a number of studies, draw attention to the subjectivity and multidimensionality of the concept of musical tension, are discussed. The next subheading focuses on the process of tension and release in French spectral music, the period that the thesis aims to shed light on. Some experiments and studies carried out in this field are shared. In this section, the approaches of some spectral composers to tension, the results obtained from the studies of the researchers, the contribution of some physical properties, such as the harmony created on the basis of timbre, and the roughness of the sound to the tension process are presented. Under the last heading of Chapter 4, the parameters to be used to determine the approximate tension curves and texture types in line with all these studies, the findings, and the approaches to be considered are specified. Selected excerpts of early French spectral music are analyzed with the help of the composers' notes, information gathered from the scores, parametric transcriptions, spectrograms, quotations, figures, and tables. In the conclusion part, the data obtained as a result of the analyses are discussed, and the findings on the relationship between texture and tension are shared. The thesis is concluded with an overall assessment of the applied analyses and suggestions for possible further studies.
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ÖgeVirtual agency in Béla Bartók's night music compositions(Graduate School, 2023-06-20) Bıyıkoğlu, Kaan Muzaffer ; Altınbüken, Eray ; 409142008 ; MusicThis dissertation aims to provide an adequate description of Béla Bartók's 'night music' style, to elucidate the compositional strategies in these works, and to present this style in a historical context. It is argued that Bartók's night music style relies primarily on the semantic implications of musical material in terms of various levels of musical agency or implied sources, which can be elucidated by the categorization of musical statements according to the theoretical framework provided by Hatten's (2018) theory of virtual agency in western classical music. The 'night music' is a style or subgenre in the music of Bartók composed after 1926. These compositions utilize very elaborate background textures which are perceived as superimposed layers of stylized noises. Many previous authors did not hesitate to use the term 'night music' without resorting to an explicit definition, and only most systematic previous study of Béla Bartók's night music style was provided by Danchenka (1987) where the author used a classification scheme based on gestural archetypes for the identification of the night music style. The following key works from Bartók's night music style were analyzed in this dissertation to elucidate the common stylistic features among these works: The Night's Music from Out of Doors, prima parte section of the String Quartet No.3, the slow movements from the String Quartet No.4 and String Quartet No.5, the second movement of the Piano Concerto No.2, and the third movement of the Music for Strings, Percussion and Celesta. It was observed that these compositions utilized non-tonal and essentially non-expressive noise like gestures in a highly segregated fashion. Due to having distinct timbres, spatial locations, registers, pitch-collections, and gestural patterns of movement, and as a result these gestures did not form a unified auditory stream, and hence perceived as if coming from distinct virtual sources. This segregated musical surface was achieved by certain compositional strategies of pitch-space and register segmentation that Bartók utilized, and these strategies relied heavily on the human capacity of what Bregman (1994) refers to as the auditory scene analysis. Due to the above-mentioned segregated structure of the music, the layers of noise like gestures implied the presence of virtual musical sources that are categorically distinct from the implied sources of melodic material in the music. This categorical distinction is investigated by using the dichotomy between musical actants and agents brought forward in Hatten's (2018) theory of virtual agency through music. The noise gestures in Bartók's night music compositions fulfilled all of the requirements for the virtualizing of actants, yet they are unable to meet certain requirements for embodying virtual agents, such as independence and intentionality. By referring to Hatten's (1994) theory of markedness, this thesis proposes that the most significant stylistic feature of Bartók's night music style is the presence of a marked semantic opposition between the actantial noise-like gestures and the agential musical material in these compositions. All the musical analyses of this repertory indicated that Bartók characterized the actantial sources with either short gestures that were immutable and usually confined to certain registers and pitch-classes, or with sheets of sounds that are based on distinct pitch-class collections. Moreover, usually the pitch content reserved for an actantial statement is segregated from those reserved for other agential/actantial layers, creating a pitch space partitioned according to the multi-agential organization. The actantial gestures are static and do not produce harmonic implications like tension or resolution, hence their contributions to musical tension are governed by their rate of activity, rate of presentation, volume, or gesture span, i.e., what Meyer (1989) classifies as the secondary parameters in music.